Sleuth

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Polly K It takes a special kind of film to waste the talents of both Michael Caine and Jude Law in under 90 minutes. Sleuth (2007), directed by Kenneth Branagh and adapted by Harold Pinter (yes, that Harold Pinter), somehow manages to take a sharp, twisty original and sand it down to an empty, high-gloss mess. It’s set in a cold, monstrosity of a house filled with what looks like intentionally painful art furniture and lots of glass just waiting to be broken. This so-called cat-and-mouse game has no stakes, no tension, and—most damning of all—no real game. The whole premise depends on two men trying to outwit each other, but they’re barely even playing the same sport. Rather than a brilliant mind gone bitter, Caine’s Andrew Wyke is a tottering, glassy-eyed mess who couldn’t outsmart a parking ticket. Jude Law, whose face is constantly pressed into the lens like a Calvin Klein ad from the 90s, mugging his way through a script so stilted it feels like a parody of itself. The film is drenched in tech-heavy set design meant to look “cutting edge,” but mostly resembles a Beetlejuice soundstage without any of the irony. A remote-controlled ladder gets more screentime and narrative weight than Maggie, the wife both men supposedly want, who exists entirely offscreen. She's a missed opportunity, a character with potential power and presence. Instead, we get Milo mumbling like a toddler on the phone with grandma, Yes… uh huh… I don’t know.” It’s a baffling directorial choice that drains the story of any emotional stakes. Worse still, the entire premise collapses under even the gentlest scrutiny. If Wyke doesn’t want his wife back, what does humiliating her lover do? If he does want her, how would this strategy help? And what’s Milo’s game? Why show up to this deranged man’s lair to suddenly beg for a legal clean break? Why stick around when things get creepy? It only makes sense if he’s got a long con in mind… but the movie never sells us on that either. The motives aren’t just murky—they’re incoherent. You start wondering if the real mystery is why anyone is doing anything. This isn’t a mind game—it’s a zero-sum performance art piece with dramatic lighting and no logic. It wants to be clever, but lands somewhere between self-important and laughably obtuse. Avoid it. Rewatch Deathtrap instead. Or go yell at a lamp. You’ll get more out of it. Rated 0.5/5 Stars •  Rated 0.5 out of 5 stars 07/24/25 Full Review Test T I watched this on DVD recently and I thought it was absolutely brilliant. Please bear in mind that I did not know it was a remake, and I knew nothing of the original. The movie runs like a lavishly staged play, where the actors performance is the prime focus. Everything else, including the stylish house interior and gadgetry only exists to support, and is never allowed to distract which is a good thing. The viewing experience is intense, and I soon found myself hanging on every word of masterfully delivered dialogue. The power play between the charactors is exciting and extremely entertaining. Micheal Cane is amazing, as is Jude Law. The camera work is also excellent, with some very original angles which add extra interest. The only thing that surprised me was how quickly time passed by, and I was quite shocked when I realized that I had reached the end. I could have readily carried on watching had there been more to see. Highly recommended. Rated 5/5 Stars •  Rated 5 out of 5 stars 03/02/24 Full Review Shay C Pretty witty, yet simple. It's short, too. Rated 5/5 Stars •  Rated 5 out of 5 stars 02/15/24 Full Review Jack Not a single appealing character, boring predictable. Rated 1.5/5 Stars •  Rated 1.5 out of 5 stars 11/08/23 Full Review steve d Didn't work any better for me than the original. Rated 1/5 Stars •  Rated 1 out of 5 stars 03/30/23 Full Review jelisije j A good different remake that is carried well by two great actors in Jude Law and Michael Caine. Rated 3/5 Stars •  Rated 3 out of 5 stars 03/31/23 Full Review Read all reviews

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