Film Review: Magpie

(Written by Intern, Sean Barry)

In an age where gender roles are in constant upheaval, Magpie shines as a fresh take on the classic relationship infidelity drama. A small cast of captivating performances bring to life a fiendishly clever screenplay, depicting a believably struggling marriage to tremendous effect. With women taking control of their lives as its cardinal theme, filmmaker Sam Yates creates a product free from typical cliches and tropes, resulting in a surprisingly enjoyable watch. 

When little Matilda (Hiba Ahmed) gets cast in a movie, her father, Ben (Shazad Latif), is charged with the responsibility to take her to the set every day. He quickly falls for the film’s lead actress, Alicia (Matilda Anna Ingrid Lutz), and they begin continually texting. Ben’s wife, Anette (Daisy Ridley, spends her days alone at home, taking care of their baby, and lamenting her husband’s ever-distant disposition. She knows something is wrong, and attempts to maintain civility for her children, while also putting Ben in his place as a responsible patriarch. Ben grows careless, occasionally ignoring his daughter in order to meet with his crush, and he leaves obvious clues about their conversations for Anette to find. Anette plays a psychological chess game, always providing for her family and keeping Ben from acting on his perverted fantasies by initiating an affair.

Daisy Ridley delivers arguably her best work to date as a woman constantly on the verge of a breakdown, yet must remain stoic. Her scenes are often performed alone without dialogue, relying solely on Ridley’s quiet acting to fill the space, a skill in which she greatly thrives. Shazad Latif portrays a realistically malignant husband set on fulfilling his own selfish demands at whatever cost. Apart from an uncharacteristically performative monologue towards the end, his words and actions appropriately contribute to Ben’s problematic persona. The duo plays off each other exquisitely, showcasing a clear segregation between an initially loving couple and two people who can barely even speak to one another.

Writer Tom Bateman’s electric script evolves to include highly unexpected events. A primary fault arrives in the somewhat routine manner in which the plot transpires. More exposition communicating Anette and Ben’s behavior before the affair would have allowed for clearer understanding of his disloyalty. A decent portion concerns Ben seeing Alicia on the set, and texting her in his free time while Annette wallows by herself at home. While never boring or pandering, audiences will likely be hoping for a change after some time. However, Bateman justifies his decisions by delivering an immensely satisfying conclusion with a plot twist that will make viewers want to turn right back around and watch it again.

Director Sam Yates skillfully navigates the difficult task of presenting a story which contains such a large percentage of internal disputes as opposed to constant external conflict. Information is shown rather than outright told, and clever filmmaking techniques display characters’ mental states. Ben’s text conversations with Alicia are read aloud in intimate close-ups, while Anette is usually framed in tight camera angles, emphasizing her world closing in. Additionally, Isobel Waller-Bridge’s inventive score accurately conveys Anette’s troubled mindset and Ben’s lustful desire. Every aspect amalgamates to a deviously intriguing experience that screams to be shared with others.

Who will get the last laugh? Find out when Magpie hits theaters on Friday, October 25th.