Anton Corbijn’s latest feature, a metatextual thriller centered around the legendary and famously thorny author Patricia Highsmith (Helen Mirren), lands squarely in middle-of-the-road territory. Adapted from Joanna Murray-Smith’s stage play, the film plays out as a two-hander set in the chilly, secluded Swiss Alps. The premise follows a young publishing representative named Edward Ridgeway (Alden Ehrenreich) who travels to Highsmith’s home to coax one final Tom Ripley novel out of her, only to become entangled in a psychological game where the line between real-life intrigue and crime fiction blurs. The dynamic is further complicated by the arrival of Clementine Balfour (Olivia Cooke), an heiress whose wealthy family background brings an extra layer of tension, complete with her one-dimensional and rather cartoonish aunt, Peggy (Juliet Stevenson), whose buffoonery and heavy-handed plotting feel like a cheap subplot straight out of derivative thrillers along the lines of The Talented Mr. Ripley and Saltburn. While the material promises a razor-sharp battle of wits, the execution frequently stumbles over its own deliberate pacing, resulting in a moderate experience.
The strongest anchor keeping the story afloat is easily the performance at its core. Helen Mirren gives a commanding, irresistible portrayal of Highsmith, capturing the writer’s caustic wit, deep cynicism, and theatrical cruelty. Mirren steps into the role with complete authority, making the author’s acerbic put-downs and manipulative maneuvers the undisputed highlight of every scene. She brings an electric presence that makes Highsmith feel larger than life, turning what could have been a dry exercise in literary homage into something lively and volatile. Alden Ehrenreich matches her well as the earnest, slightly out-of-his-depth Edward Ridgeway, holding his ground during their verbal sparring matches and providing a sturdy foil for Highsmith’s eccentric malice. Even when the narrative around them begins to drag, their magnetic turns ensure that the central conflict remains thoroughly engaging whenever they command the frame.
Courtesy Bleaker Street
Where the film hits a snag, however, is in its tempo and structure. Corbijn brings his signature eye for striking visuals and brooding atmospheres, but his approach to the theatrical material proves overly hesitant. The heaters are set so slow here that the tension takes far too long to warm up. Long stretches of dialogue unfold at a leisurely crawl, and while the icy Swiss setting is visually impressive, the narrative engine takes forever to generate actual heat. Because the story relies so heavily on slow-burn suspense, the lack of momentum in the middle section leaves the dramatic stakes feeling remarkably lukewarm. By the time the clever mind games and meta-fictional twists fully take hold, much of the early urgency has already evaporated, making the ultimate resolution feel more like a neat narrative trick than a chilling climax.
Ultimately, this chamber piece operates as a handsome, moderately entertaining character study that never quite reaches the thrilling heights of the books it pays tribute to. Fans of the source material and admirers of subtle literary tension will certainly find things to appreciate, particularly in the sharp exchanges between the leads. Yet, for a story about a master of suspense, the end product feels surprisingly subdued, missing the sharp bite needed to turn a decent psychological contest into an unforgettable cinematic encounter. It remains a decent afternoon watch, driven primarily by its leading lady’s fiery performance, even if the surrounding machinery operates a bit too cold and cautious for its own good.
A Talent for Murder is now playing in theaters
Okay film, Helen mirren is good as usual. But story is kind of meh. 2.5 of 4 stars
I am interested in seeing it