Enigma (2018)

When a television show approaches the mother of a murdered woman proposing a 90-minute true-crime special that might help reveal the truth of the daughter's death, the mother is torn because first her husband, sisters, and large number of daughters must address some matters that until now have been dealt with as deeply private, and although this is an important and very well-acted film, there is something infuriating about watching all the extended family members and friends whispering and gossiping for an hour over something that, outside of conservative Chile at least, shouldn't stand in the way of a murder investigation.

★★☆☆☆

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Force of Nature: The Dry 2 (2024)

The Dry 2 squanders the two things the original The Dry had going for it: its strong evocation of small-town Australia - so real - and Eric Bana's likeable Falk, tied to that place through his past but now a fish-out-of-water city slicker - but here, the setting is a fictional rainforest (the Dandenong, Yarra, and Otway Ranges standing in for the - for some reason fictional - Giraling Ranges) and Falk has been reduced to a generic interrogator of one suspect after another - and in a particularly uninteresting mystery - the disappearance of a woman from the world's dreariest company retreat where five or six women snap at each other about too many plot points all out of scope of their miserable forest prison: peripheral corporate skullduggery, references to bullying, allusions to the wayward pasts of two young sisters, ultimately unnecessary harkbacks to a serial killer case, and Falk's unilluminating backstory - a feeble attempt at grounding him once more in place through his mother's weird disappearance years and years earlier. 

 

★★☆☆☆

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Before and After (1996)

When their teenage son is suspected of murder, Meryl Streep and Liam Neeson, as the boy's parents, must grapple with small-town police friends, lawyers, vigilantes, and their own feelings of culpability over covering up the crime, in Barbet Schroeder's earnest but a touch too pat adaptation of Rosellen Brown's book.

★★★☆☆

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Agatha Christie's Seven Dials (2026)

Agatha Christie wasn't called the Queen of Mystery for her occasional attempts at the espionage thriller, as any reader of The Big Four, They Came to Baghdad, and Passenger to Frankfurt can attest, and so, except for a ridiculously embellished final reveal, we can't entirely blame the makers of this three-part series for the ludicrous plotting of their adaptation of The Seven Dials Mystery, a comic adventure after Nancy Drew rather than a traditional murder mystery, about British government agents, scientists, spies, absurd secret societies, and, when you dissect it, a circular story of unlikely coincidence rather than sensible clues.

★★★☆☆

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Murder By Numbers (2002)

Hitchcock's Rope, based on a play, was a chamber thriller focused with icy precision on its chilling pair of Leopold-and-Loeb intellectual killers, whereas Barbet Schroeder's Murder By Numbers might be its dopey cousin 'Fray': it starts strong, in a Hitchcockian world that extends out the window to the horizon - more Rear Window than Rope - but descends into mess as its two killers (Ryan Gosling and Michael Pitt) turn on each other, with the film asking us to care about too many extraneous things - the cop's sex life, her traumatic past, one killer's love interest, and even a monkey - until the murdering pair, in the end plodding here and there in plastic body suits and swim goggles, look less icy and more and more like the bungling burglars from Home Alone.

★★★☆☆

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Still of the Night (1982)

Roy Schneider is a psychiatrist - the sort role Cary Grant plays in a Hitchcock thriller - and Meryl Streep is the blonde femme fatale who comes to him for help when her lover (his patient) is found murdered, in this enjoyable but dopey tv-grade mystery thriller full of attempts at classic Hitchcock thriller moments - a dream sequence, psychobabble, auction-house hijinx - but all delivered in a laughable threadbare plot.

★★★☆☆

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Agatha Christie "Marple": The Sittaford Mystery (2006)

Despite not really fitting the image I have in my head of the character, Geraldine McEwan is a good Miss Marple - shrew and mischevious, her eyes positively twinkle as she contemplates twisted human psychology and murder, so much that you can forgive her spritely frame and impish energy - and even though she has been thrust into this adaptation of a book she didn't even appear in, she adds good value to the story, quietly solving a murder that takes place in a snowed-in inn populated with a star-studded array of likely suspects (Carey Mulligan, Timothy Dalton, Mel Smith, James Murray, and more, in a scenario very reminiscent to the one in The Mousetrap).

★★★☆☆

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Another Man's Poison (1951)

This noir introduces us to Bette Davis' crime novelist, living in a gothic mansion by a windswept moor, who, we discover from the opening scene's whispered telephone box conversation, is having an affair, and from this strong thriller set-up, the movie proceeds as if trying to check off every thriller box imaginable - a dead body in a study,  an imposter and a fake marriage, a bank robbery, a criminal on the loose, not to mention animal murder and even My Cousin Rachel-style vehicle tampering - and more and more, until it runs wildly away with itself, though thankfully Davis seems aware of the absurdity and plays it for all it is worth.

★★★☆☆

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八っ墓村 (Yatsuhaka-mura) (Eight Tomb Village)(1996)

Seishi Yokomizo's mystery novel, encompassing 1577 civl war events, a spree killing in the 1930s (inspired by a horrible true event), and then a more contemporary village murder mystery, is a convoluted mess (on top of these occasions of mass murder spread over 400 years, there's portentous lightning strikes, identical twins, hidden treasure, mummified bodies, a labyrinth, madness, a curse, and village unrest) and while director Ichikawa Kon's 1996 remake sticks more closely to the plot of the book than the 1977 adaptation, it still makes the sensible choice to cut some fat off the book's bones, presenting an enjoyable mystery less convoluted than the book, downplaying the horror of the 1977 version and up-playing the English mystery elements, injecting into the mystery much more of Kindaichi Kousuke, the private detective, who is trying to discover who is poisoning the residents of "Eight Tomb Village" while also investigating how the murders are related to the arrival in town of handsome Tatsuya Tajimi, a young man just told he is heir to the enormous Tajimi fortune.

★★★★☆

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Ten to sen (aka 'Points and Lines' or 'Point and Line') (点と線) (1958)

Seiichi Matsumoto's mystery, a mere slip of a book written in the spare style of Simenon, is in some ways the counter to Hitchcock's A Lady Vanishes - instead of disappearing from a train, here one character steadfastly appears on one while detectives suspect he was elsewhere - but to say more would ruin the surprise of both the book and this faithful 1958 adaptation that opens with a Vertigo-style animated journey across the points and lines of a train map set to a jaunty discordant thriller score, barrels like an express train through its mystery, and ends with a solution to an impossible crime as ingenious as it is simple, hinging on a trick that is uniquely Japanese - there'll never be a Western adaptation! 

★★★★★

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Cast A Dark Shadow (1955)

Well, you pretty much have to watch this 1955 thriller play adaptation - the play is called Murder Mistaken - not just for a well-delivered surprise towards the end but also for the jaw-dropping endscenes in which one particular female character stands up to a killer in a terrifying shouting match that I think is unprecedented in its melodrama - the only similar scene I can think of is Sigourney Weaver's Helen Hudson inviting a crazed serial killer to put up his dukes in that rooftop scene in Copycat. 

★★★☆☆

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I Saw The Devil (악마를 보았다) (Ang-ma-reul bo-at'da) (2010)

I don't mind ultra violence in movies when revenge is being meted out to those especially deserving of it, like in Harry Brown or Bedevilled, The Brave One or a zillion other bloody revenge fests, and for the first hour or so, that's what's on offer here when a secret service agent goes beserk, seeking revenge on a Korean Max Cady serial killer who has horribly killed rhe agent's pregnant girlfriend, but by film's end, when the secret service agent's very short-sighted plan for revenge has resulted in pain, suffering and death for myriad extraneous others and when so much depravity is on show - so much that the serial killer becomes just one part of a greater universal serial killer problem - the thrill of revenge becomes more than absurd: From Dusk Til Dawn presents a more reasonable, grounded world.

★★★☆☆

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Island of Hell (aka 'Devil's Island', 'Gokumon-tou', 'Hell's Gate Island' (獄門島) (1977)

Ichikawa Kon's 1977 adaptation of Seishi Yokomizo's detective novel is faithful to the book except in its final moments when whodunnit is revealed and it is whodidntdunnit in the book, a change which will rankle fans of the classic mystery featuring the recurring, dandruff-suffering, scruffy detective Kindaichi Kousuke; meanwhile, non-Japanese speakers also will be frustrated by breakneck cutting, which makes it hard to enjoy the movie's Japanese sets, costuming, and its plot while also keeping up with lightning-speed subtitles. 

★★★☆☆

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Death At An Old Mansion (本陣殺人事件) (1975)

It seems strange to stay completely faithful to the plot of Seishi Yokomizo's detective novel The Honjin Murders yet change the title so no one who has read the book can easily find this adaptation, but I suppose Death At An Old Mansion dispenses with the archaic and unhelpful concept of a honjin and provides a more atmospheric English title better suited to this 1975 adaptation's giallo stylings - in good part a horror movie, chilling at times, but also an effective telling of Yokomizo's classic Japanese locked room murder mystery inspired by Gaston Leroux's The Mystery of the Yellow Room.

★★★★☆

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A Haunting In Venice (2023)

With his third Agatha Christie adaptation (the first being Murder On The Orient Express; the second, Death On The Nile) director, lead actor, and likely infatuated-starer-at-self-in-mirrors Kenneth Brannagh delivers another big glossy star vehicle (this one has Tina Fey, terrific as Poirot's mystery novelist friend Ariadne Oliver, and Michelle Yeoh appears) but he again mishandles the all-important mystery, this time transforming Halloween Party into a supernatural horror, forgetting that to solve a mystery Hercule Poirot needs clues, not just to simply float around a crumbly Venetian mansion in extreme close-up; in the end, Brannagh's Poirot looks ridiculous presenting grand revelations magically-gleaned from two clues: flowers and a ringing phone. 

★★★☆☆

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Frozen Ground (2013)

The action is heightened and some of the events clearly can't have happened in real life exactly as they play out here, but this based-on-a-true-story movie is gripping viewing with Nicolas Cage playing a cop who needs to first convince dismissive colleagues and officials that there is a serial killer active in Anchorage, Alaska before he can bring to justice Robert Hansen, a man whose real-life existence and crimes you"ll probably wish you'd stayed unaware of.

★★★☆☆

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Clue: The Movie (1985)

The actors are about as animated and have as much personality as the boardgame's character cards and it disconcerts that they are not the colours they are supposed to be — Mrs Peacock has feathers but is brown and Mrs White isn't the cook but a black-clad Goth — and the stage sets very wearily, like at the start of a board game when noone is sure of the rules, but stick with the carry-on because there are some laughs to be had towards the end as the initially easily shocked troupe grows increasingly unfazed by all the murders happening around them while Tim Curry grows increasingly irreverent as Wadsworth the butler of the Cluedo mansion.

★★☆☆☆

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Murder to the Tune of the Seven Black Notes (aka 'Death Tolls Seven Times', 'Seven Notes in Black', 'The Psychic') (1977)

When a skeleton is unearthed at her husband's countryside manor, it becomes apparent a woman's visions of murder are not simply her imagination, in this excellent murder mystery for giallo fans featuring ghastly body horror set-pieces, opulent interiors, dread accompanied by Hammond organ, intrigue, and lots of luridly coloured blood.

★★★★☆

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Murder by Decree (1979)

There's only one way the Jack the Ripper mystery can be resolved in a movie without history being completely upended, so don't expect too many surprises here, but expect a gripping mystery drama that has Sherlock Holmes (Christopher Plummer, who bewilders with his simpering, "feely" portrayal of the great detective) investigating the notorious Jack the Ripper murders and, once he's talked to, among others, Donald Sutherland's psychic and John Gielgud's parliamentarian, Holmes arrives at a solution that any audience member even half interested in the grisly episode will have come across before.

★★★★☆

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Death On The Nile (2022)

Kenneth Brannagh does a much better job with his adaptation of Agatha Christie's Death On The Nile than he did with his Murder On The Orient Express in 2019, but patchy acting (from Annette Bening, especially, and from Russell Brand, too, on the few occasions he is permitted to speak), wonky cartoony cgi environments, some important clues that couldn't be more clanging if they were delivered by a town herald, and some perverse embellishments to Christie's story (that absurd dancing, and that moustache backstory!) keep this from being a great or, given the excellent 1978 adaptation, even a necessary remake.

★★★☆☆

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