A Talent for Murder Feature Scores
Explore all 75 feature scores for A Talent for Murder, organized into pros and cons.
Scores by Feature
Summary
75 reviewed features-
Very positive 4.5-5.012 (16%)
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Positive 3.5-4.419 (25%)
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Neutral 2.5-3.431 (41%)
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Negative 1.5-2.413 (17%)
Pros
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The cast is the most dependable attraction, with Mirren's acidic presence and Ehrenreich's shifting identities drawing frequent praise. Strong acting often carries scenes whose plotting earns a less enthusiastic response.
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The leading work is usually a major reason to watch, particularly Mirren's intimidating wit and Ehrenreich's transformations. A few responses find parts theatrical or less convincing, but the leads regularly outperform the material.
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Rich color, European scenery, and expressive light and shadow are major strengths. Even less favorable responses often admire the photography, though a few find the Swiss landscape underused.
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Highsmith's weapon-filled, cluttered home vividly communicates her personality, while the glamorous interiors offer a contrasting world. The sets are among the most consistently admired parts of the production.
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Mirren and Ehrenreich's verbal duel is frequently the film's strongest element. Ehrenreich and Cooke also generate convincing romantic heat, though chemistry cannot always overcome doubts about the situations.
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The isolated house and cool European settings create an appealing mix of cozy intimacy and menace. Some find the mood absorbing, while others wish the landscape or claustrophobia had been used more effectively.
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Dry insults, uncomfortable exchanges, and sly dark comedy provide much of the entertainment. Mirren's caustic delivery is a particularly reliable source of laughs.
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Corbijn's strongest work creates tension through controlled staging and carefully chosen images. Detractors find the approach flat or too theatrical, particularly when the film tries to expand beyond the central house.
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Identity, concealed impulses, and the connection between an author and a fictional creation give the film substantial interpretive appeal. Not everyone thinks its ambitious questions receive enough depth or payoff.
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Cold Alpine light and warmer noir shadows distinguish the film's different worlds. Low light and firelit interiors are also praised for expressing the characters' hidden sides.
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Brief supporting performances add charm and intrigue, with Brennan especially praised for emotional layers and a comforting presence.
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The best moments turn inventing a murder into a revealing contest between author and collaborator. Opinions split on whether the film explores that process sharply enough or wanders too far into the story they create.
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The handsome, richly colored presentation and giallo-like imagined sequences are frequent pleasures. A dissenting response finds the film visually anonymous despite its attractive material.
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Mirren's timing makes the barbed remarks land, with both a critic and an audience reaction singling out her comic precision.
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Elegant clothes add visual pleasure, while smaller wardrobe changes help distinguish the nervous editor from his more polished fictional counterpart.
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Strong performances and attractive craft make this an enjoyable diversion for many. Enjoyment depends on tolerating the slow start and an ambiguous payoff that some find fascinating and others reject outright.
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Claustrophobic close-ups and carefully juxtaposed faces give the psychological exchanges visual force and emphasize unstable identities.
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Hitchcock-inspired visual techniques give the film a pleasing classical-thriller flavor, especially in its close-ups, juxtapositions, and understated staging.
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The imagined collaboration between Highsmith and Edward is exhilarating when their intellectual, artistic, and psychological sparring comes together.
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The strangers-on-a-train opening supplies a clever, recognizable nod to Highsmith that adds pleasure for viewers who catch the reference.
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The montage of shifting faces helps turn changing identities into a distinctly cinematic experience.
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The production values are gorgeous enough to stand out even in a strongly negative response to the movie overall.
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Highsmith makes an intriguing adversary: difficult to read, mischievous, and apparently several moves ahead of her visitor.
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The ensemble can feel exceptionally well chosen, but one account finds the insistence on Edward's youth awkward beside the actor's clearly adult appearance.
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One favorable account finds the film's Ripley-like figure close to the personality of Highsmith's novels, especially his dissatisfaction with himself and hunger for social advancement.
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The deliberately unflattering haircut contributes to Mirren's convincing lack of glamour as the reclusive author.
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One account credits the visibly convincing location work with strengthening the film's sense of place.
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The lined, pasty physical appearance supports a committed, deliberately unglamorous version of Highsmith.
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The initial train meeting is singled out as a clever way to launch the story and introduce its literary echoes.
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A few jump scares work effectively because Mirren's presence and the uneasy staging make small jolts count.
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The dramatic games can be clever and engaging, though the combination of literary drama and thriller is less convincing to some.
Cons
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Several accounts struggle to care about the invented murders because the story feels hypothetical or the social advancement too assured. The absence of meaningful risk weakens the thriller's urgency.
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Memorability is a weakness: several accounts describe fleeting entertainment, forgettable sequences, or little desire for a second viewing.
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Mirren's long absences are a recurring frustration because the housebound contest is often the main attraction. Cooke likewise has less material than her performance seems capable of supporting.
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A slow opening and momentum lost away from Highsmith's house are recurring complaints. Supporters find the deliberate buildup absorbing or increasingly rewarding, while others experience repetition and boredom.
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The stylized fiction is grounded enough for some viewers. Others struggle with the characters' supposedly dangerous nature, the intellectual connection, or romantic encounters that make little practical sense.
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Reversals divide opinion between ingenious surprise and predictable, low-impact plotting. Several accounts feel the final turns either go on too long or fail to reframe the story convincingly.
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Opening the play into multiple screen realities is clever and cinematic for some viewers. Others find the expansion stiff, overcomplicated, or less tense than the basic two-person contest.
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The overlapping realities can be an intriguing puzzle or a source of persistent confusion. Visual and performance cues help some viewers follow the shifts, but the ending leaves others unsure what they have watched.
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The film's balance suffers when the expanding story sidelines Mirren, whose central contest is often its strongest material.
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Premeditated murder, sexual material, and profanity limit the film's appeal as entertainment for families with younger children.
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The face-transition effect earns a strong complaint for looking poorly executed at a crucial late moment.
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The ending is the biggest dividing point: some enjoy its open questions and gathering momentum, but many find it weak, abrupt, overcomplicated, or less ingenious than promised.
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The treatment of a real author is contentious, especially where her prejudices are softened or murderous possibilities are suggested. An explicit acknowledgment that the story is fictional offers some reassurance.
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The fictional Highsmith portrait earns both appreciation and frustration. Some find a convincing late-life personality, while others see a softened caricature or little more than a collection of biographical details.
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Bloody murder, sexual scenes, and strong language make this a mature thriller rather than an appropriate choice for younger audiences.
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The social-climbing plot loses force for one critic because advancement seems assured, without enough risk of exposure or loss of status.
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A supposedly seductive surprise involving a bedroom intrusion and a knife is criticized as crossing the boundaries implied by the invitation.
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The near-constant smoking is distracting for one viewer, who finds it excessive rather than an effective part of the period atmosphere.
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The thinly drawn characters can make it hard to care about their fortunes, leaving the story emotionally distant.
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The attempted blend of literary drama and psychological thriller does not fully click for one account, leaving the performances stronger than the combined story.
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Mirren's American accent draws a specific complaint for sounding exaggerated, even from an otherwise enthusiastic response to her performance.
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The limited action does little to lift the pace for one viewer, who wanted more happening between the talk-heavy scenes.
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The strong language contributes to the mature-content reservation, especially for anyone seeking a gentler mystery.
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The promotional impression can make the film look safer and more conventional than its adult wit, dark comedy, and ambiguous design actually are.
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The title sounds somewhat like a direct-to-video thriller to one account, underselling the film's more sophisticated ambitions.
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The opening narration suggests an intriguing possibility about who is inventing the story, but that possibility is considered underdeveloped.
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The screenplay's clever metafictional premise earns real admiration, but its theatrical dialogue, competing narratives, and uncertain conclusion are frequent obstacles. Opinions differ sharply on whether ambiguity enriches the script or exposes its weaknesses.
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The story-within-a-story device feels fresh to some, but others see a derivative inheritance scheme and a familiar Ripley imitation. Its inventiveness is more contested than its cast's appeal.
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Ehrenreich's character gains layers as confidence and menace emerge, and Mirren reveals vulnerability beneath hostility. Clementine is repeatedly considered underwritten, while one brief supporting character supplies welcome emotional depth.
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The running time feels cramped to accounts wanting fuller development of the nested thriller. Another response finds the overall experience quick and breezy despite occasional dragging scenes.
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Edward works as a worthwhile protagonist for some, but the thinner, status-driven characters can make emotional investment difficult.
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The handling of sexuality divides opinion: one account appreciates its integration with identity themes, while another objects that a story about a queer figure remains heavily heterosexual.
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This is an acquired taste: patience for a contained, conversational mystery matters more than a general appetite for thrillers.
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The premise offers intriguing literary games, but the mystery does not always match the standard it invokes. A missing-agent thread is also criticized as underdeveloped.
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The romance offers fun and heat but often feels secondary to the author-editor contest. Implausible encounters and time spent away from Mirren reduce its value for some.
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The sensual moments are enjoyable for one account, while another sees them as a reason to reserve the film for mature viewers. The sexual material is not considered especially explicit by R-rated thriller standards.
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The brutal murder plotting is enjoyable as thriller entertainment for one account, while another regards even the relatively restrained violence as a mature-content concern.
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The film works best as a cerebral, performance-led thriller. Some enjoy its seductive literary games, while others find too little urgency or surprise to satisfy the genre promise.
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Some find the mixture of lighter real-world scenes and darker invented ones well balanced. Others see a film uncertain of its own identity or lacking conviction.
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The ominous string score is admired for its atmosphere, but its insistence can also promise more thrills than the movie delivers or reveal emotional turns too clearly.
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The film can feel like a clever lost Highsmith tale, capturing her interest in deception and dark impulses. Other accounts see fan fiction that misses the originality, nastiness, and elegant plotting of its model.
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The central literary challenge is a compelling hook, and the nested story can be inventive and immersive. Less favorable responses find the plotting dull, stale, or unable to connect its competing strands.
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The insults and verbal volleys can be sharply funny, even top-notch. Other responses find the lines insufficiently cutting, unnaturally assembled, or repetitive by the later scenes.
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The conversational contest can create electric psychological tension. The invented plot's weaker stakes, predictable turns, and departures from the chamber setting often blunt that suspense.
Use Cases
Best for
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The unanswered questions offer plenty to discuss about identity, reality, and invention. That appeal depends on enjoying interpretation even when the immediate resolution feels frustrating.
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Fans of conversational psychological thrillers can enjoy the suspicious characters and shifting motives. Those expecting consistent visceral thrills face a less reliable fit.
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Existing Highsmith and Ripley fans have more literary references and familiar themes to enjoy. Several recommendations are strongest for that audience, although familiarity cannot guarantee satisfaction.
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Older viewers looking for a talk-driven, performance-led mystery are identified as a particularly good fit, especially compared with audiences wanting faster entertainment.
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Writers and artists may connect with the haunted creative personality and the game of turning people into fictional characters. The layered invention is especially appealing to an account that calls it irresistible for writers.
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Mystery fans can enjoy the verbal games and literary nastiness, though seekers of a conventional murder puzzle may wonder when that story will begin.
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The adult wit and literary atmosphere make this a suitable diversion for mature viewers. Sexual scenes, violence, and strong language also place its content firmly in that audience's territory.
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Focused attention helps keep the overlapping stories clear and makes the interpretive work more rewarding. This is a better fit for active engagement than an undemanding watch.
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Readers who enjoy literary mysteries and nasty personalities should appreciate the imagined encounter with Highsmith and her murderous creative world.
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Viewers who enjoy small casts, contained settings, and verbal maneuvering can find the patience demanded by the opening worthwhile.
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One account finds the viewing experience as cozy as settling under a blanket with a novel, despite the story's dark subject.
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The textured, saturated imagery gives the film an appealing spooky-season mood for one account.
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The film can spark interest and supply basic Highsmith context for newcomers. Other accounts find familiarity useful because the movie leaves contextual gaps.
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The contained performances and deliberate mystery are seen as a good fit for the older audience visiting arthouse cinemas.
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Genre-film enthusiasts can enjoy the imagined sequences' giallo appearance and their echoes of older thriller styles.
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Following clues and reconsidering assumptions can be a real pleasure, particularly when the shifting power balance is more interesting than a neat solution.
Conditional or not ideal for
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Biographical insight viewingAnyone seeking a factual literary biography or substantial new insight into Highsmith may be disappointed. The story uses the author for an invented psychological game rather than a grounded life account.
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Children's viewingYounger children are a poor fit for the murder, sexual material, and strong language in this adult story.
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Family viewingThe mature content makes this unsuitable for a family movie session that includes younger viewers.
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Smoking-sensitive viewingAnyone bothered by frequent smoking is specifically advised to avoid the film, where the near-continuous tobacco use can become distracting.
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Horror fan viewingHorror fans wanting a deeper plunge into darkness may find the film too hesitant to embrace horror fully.
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Teen viewingOne viewer expects younger audiences to find the deliberate, talk-heavy approach less appealing than older viewers do.
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Theater viewingOne viewer advises against rushing to the cinema and considers the film better suited to a later home stream.
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Casual streaming viewingA relaxed home stream is recommended by one viewer who sees little reason to rush to a theater. Others warn that casual viewing is a poor fit for the film's interpretive demands, or offer streaming only as a reluctant fallback.
Cast & Creators
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Patricia HighsmithMirren's venomous wit, intimidating presence, and flashes of vulnerability are the film's most dependable draw. A minority finds the performance theatrical or overly familiar, but most praise how compelling she makes this abrasive author.
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Edward RidgwayEhrenreich is widely admired for moving between anxious editor and polished schemer with subtle changes in voice, posture, and confidence. One viewer finds the editor more convincing than the suave counterpart.
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CinematographerRyan's rich location photography and expressive light and shadow are major visual strengths. His images help distinguish the worlds while keeping interiors watchful and tense.
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Production DesignerCapuani's detailed home design communicates Highsmith's personality, and the contrasting glamorous interiors are a visual highlight.
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Clementine Harriet BalfourCooke brings naturalness, charm, and romantic heat to the two-story structure. The recurring limitation is thin or insufficiently differentiated material rather than a lack of commitment from her.
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DirectorCorbijn's direction is admired for controlled suspense, watchful compositions, and a successful play between realities. Detractors find it flat or unable to escape the stage origins and sustain momentum outside the house.
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Kathryn GriersonBrennan's brief appearance adds intrigue, warmth, and emotional layers. Her charming presence makes an impression beyond the size of the role.
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Aunt PeggyStevenson adds elegance and charm in a supporting turn that helps make the wealthy family world appealing.
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ComposerHinchliffe's ominous strings can be a marvelous atmospheric asset. Another account finds the music too directive and too eager to signal what will happen.
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WriterMurray-Smith's screenplay turns an imagined literary encounter into an ambitious layered puzzle. Opinions split between admiration for its clever framework and frustration with theatricality, tangled strands, and an unsatisfying murder solution.