Magpie (2024) Review!!

Synopsis – A couple find their lives turned upside-down when their daughter is cast alongside a controversial major star.

My Take – Though she is, and will always be, known for her role as Rey in the Star Wars sequel trilogy films, over the past few years, comparatively smaller films like Sometimes I Think About Dying (2023), The Marsh King’s Daughter (2023), and especially Young Woman and the Sea (2024) have allowed Daisy Ridley to show off her untapped range as a solid performer.

Such is also the case of her latest, a neo-noir thriller film, based on a story by Ridley, written and produced by her actor husband Tom Bateman (Thirteen Lives, Death on the Nile) and marks the feature directorial debut of theater superstar Sam Yates.

A deceptively good, lean, and mean feature that manages to be sexy, intoxicating and compelling all at the same time.

Sure, it has little originality and we all have definitely seen better films about female rage and the imprisoning loneliness of motherhood, yet the narrative has an invigorating clarity of purpose.

Being both flimsy and unsubtle, but also remaining oddly gripping. If you can handle a slow burn, the film rewards you with a satisfying payoff and an excellent turn from Daisy Ridley.

The story follows Anette (Daisy Ridley), a young mother of two, stuck in a dour marriage to Ben (Shazad Latif), a decently celebrated writer. Forced in to taking on the larger role of a parent due to Ben’s dismissive, selfish and controlling behavior, Anette often finds herself struggling to deal with everything, especially in the isolation of her countryside mansion outside London.

However, Ben’s affections stray even further when the couple’s six year old Matilda (Hiba Ahmed) lands a supporting role in a historical drama whose alluring Italian star Alicia (Matilda Lutz) proves too tempting to resist. Changing their dynamics even further.

Here, the screenplay is a true slow burn in all the right sense. At first chilly and frigid, then warm and bubbling, then explosive in its final act. Right from the beginning, it is clear that Ben and Anette’s relationship is under strain. Ben is preoccupied by the exciting business of their daughter Matilda’s developing film career and doesn’t seem to recognize how important things maybe got Anette too.

For her part, she shows signs of mental instability, and there are even hints that Anette may have suffered more severely in the past. Though, this kind of thing is not uncommon in families with young children, and people often succeed in working together to overcome it. But here, Ben chooses to pursue Alicia after they exchange numbers to get a photo of the two together, and then an exchange of text messages begins.

Yes, nobody can avoid falling in love, but an already committed person can choose to avoid risky situations and can certainly choose to avoid flirting. Increasingly, Ben indulges in the latter. He even goes on to talk about his loneliness and how Anette never looks at him these days. And as Ben’s horizons expand, hers seems to grow smaller.

She is isolated in the country and wants to be back at work. She craves some company and connection but barely gets that from Ben even when he’s around. They barely communicate anymore and they certainly don’t talk about anything deep and meaningful.

One scene in particular that I loved involves Anette literally trying to out run her problems and her slow realization that she can’t leave her kids behind just because her life has become overwhelming. While all this elements might make it seem like a simple martial drama, the film is often unsettling; the more Annette and Ben tip-toe around one another, the more heightened the unease.

Admittedly, the plotting isn’t necessarily the film’s strongest suit. There are a couple of not-quite holes exactly, but slightly threadbare patches. More importantly, the narrative isn’t really the point; this is first and foremost a tense portrait of a toxic relationship, and a brutally compelling one at that.

All leading to a thrilling twist in the final act, which even though somehow I had guessed beforehand, ends up being disarmingly satisfying.

It helps that the film is anchored by a fantastic turn by Daisy Ridley. The role itself is far more complex than meets the eye, and Ridley, who conceived of the idea for the film, seamlessly traverses the highs and lows of her character. She’s frustrated in one moment and fearful and resolved in others. Ridley delicately handles Annette’s intricacies, walking a fine line between restrained and bold. It’s a masterful performance that underscores Ridley’s skills as an actress.

Matching her toe to toe is Shazad Latif, who instead of going the generic villain route, has been smartly directed to play the character charmingly. Matilda Anna Ingrid Lutz too is great and completely on spot as the glamorous and sexy Alicia. Oscillating between sultry and down-to-earth whenever the need calls for it. Young actress Hiba Ahmed is adorable and does decent work throughout. On the whole, ‘Magpie’ is a slow burn yet gripping psychological thriller that is compelling, engrossing, and tense throughout.