"See How They Run" - Film Review
There is no name more well-known in the art of mystery and suspense than Agatha Christie. Those who only know her detective novels may be unaware of her long-running play, The Mousetrap. It is based on the true story of abuse experienced by two brothers, Dennis and Terence O’Neill, in the foster care system that led to the death of Dennis. The Mousetrap ran continuously on London’s West End from 1952 to 2020, when Covid finally ended its run. Like Christie’s detective novels, The Mousetrap is a whodunit where a group of eight characters find themselves in a secluded manor. This play is the backdrop for See How They Run.
The film takes place in the 1950s and begins on the night of The Mousetrap’s 100th performance. Stars Richard Attenborough (Harris Dickinson) and Sheila Sim (Pearl Chanda) are in attendance, along with famed playwright Mervyn Cocker-Norris (David Oyelowo). Mervyn has been hired by producer John Woolf (Reece Shearsmith) to write the script for the film. John has hired Leo Köpernick (Adrien Brody), a sleazy, disgraced American film director, to make the film. However, Leo’s vision for the film will never be realized as he is murdered by a shadowy figure in the backstage area of the theatre. Inspector Stoppard (Sam Rockwell) and Constable Stalker (Saoirse Ronan) are called to the scene to find out who is behind the murder and who will be next.
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So much of See How They Run hinges on Ronan and Rockwell as a comedic duo. Rockwell as the curmudgeonly, world-weary inspector is antithetical to Ronan’s endlessly optimistic new constable, but there is a disconnect between them. In order for this dynamic to blossom, there must be something inherently lovable about Rockwell’s Stoppard. Beneath his hardened persona, there should be something endearing, especially when the film is firmly in the dramedy world. Stoppard spends much of the film annoyed with Stalker, trying to shake her off at every possible turn. Ronan’s comedic timing is impeccable, but instead of leaning into that, the film tends to make Stalker’s optimism the butt of the joke. It’s a decision that feels lazy in terms of cultivating comedy.
See How They Run is desperate to mimic the meticulous mise-en-scene of a Wes Anderson movie. It’s a lost cause, simply because Anderson has created a visual language all his own. Any attempts at impersonation will flounder in comparison. See How They Run tries to invoke Anderson’s style with lyrical dialogue, split screens, and eccentric characters, but it’s all very clinical. A forced sense of whimsy loses the fantastical edge that is essential to cultivating playful ambiance.
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At every possible turn, See How They Run wants to remind the audience that this film is aware. Aware of the genre conventions, the expectations, and the desire of the audience to outsmart the movie by figuring out who the murderer is before the grand reveal. It’s one thing for the film to be conscious of these constructs as the script is written and the world is being created, but there is a fine line between winkingly acknowledging the genre that’s being satirized while also making sure the audience is aware of the genre conventions that will be upended.
The film also doesn’t give the audience the opportunity to figure out the case on their own. The conclusion of See How They Run does make sense, but it’s out of left field. No clues or information were sprinkled throughout to give the audience a chance to piece together the possible outcomes. A shoe drops in the final fifteen minutes, but a grand reveal with no buildup lessens the impact. Sure, it’s unexpected, but it’s much more rewarding as an audience member to be able to replay events and pick out the seemingly innocuous clues that were missed.
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Ultimately, See How They Run is a solid ride. To those who find the recent influx of meta genre flicks to be exhausting, See How They Run will not come across as charming. It will feel tedious in its insistence that the film is clever beyond imagination. Perhaps, had the film focused less on trying to be the smartest person in the room, it might’ve been more fun.
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