The murder mystery genre is oddly a source of comfort, as Agatha Christie-style sleuth stories tend to focus more on putting together clues than assembling the gruesome details of the case. Although it’s a subgenre that has existed long enough for the tropes to become well-established, a solid spin on a familiar tale needs only a few solid misdirections, a cast of charming characters, and a good sense of humor to make for an entertaining time at the movies. “The Thursday Murder Club” is charming in how deliberately quaint it is. This is a film that could have been made during Christie’s lifetime, as it doesn’t intend to mess with a formula that has stood the test of time for a reason.
Based on the popular novel series of the same name, “The Thursday Murder Club” follows the retired nurse Joyce (Celia Imrie), who begins adjusting to her new community at the retirement home Coopers Chase. Although Joyce shares a close relationship with her daughter Joanna (Ingrid Oliver), she soon befriends the former spy Elizabeth Best (Helen Mirren), the retired psychiatrist Ibrahim Ari (Ben Kingsley), and the ex-trade union leader Ron Ritchie (Pierce Brosnan), who hold secret meetings in which they discuss and debate cold cases. Joyce is quickly accepted as a new member of the club, but their investigations become less theoretical when an actual murder occurs, which threatens to disrupt the comforting status of Coopers Chase.
At the instance that Joyce exhales in delight upon seeing news reports of a mysterious death, it is clear where the intentions of “The Thursday Murder Club” lie; it’s a film that relies on the audience’s awareness of the archetypes of the genre, and moves at a quick enough pace to establish all the required components. Allies to the group include the kind-hearted police officer PC Donna De Freitas (Naomi Ackie), whose talents have been ignored by her haughty superior, Daniel Mays (DCI Chris Hudson). Additionally, Ron’s son Jason (Tom Ellis) initially arrives to visit his aging father, only to find himself listed as a suspect.
The stakes of the case are perfectly suited to the characters. The murder is tied to a plan by the delightfully evil landlord Ian Ventham (David Tennant), who plans to tear down the apartments of Coopers Chase to build luxury apartments. Even if the narrative gets appropriately knotty as the conspiracy is deepened, there’s justification for why the four old protagonists would be so motivated to protect their community, and why they’ve been appropriately prepared for such an opportunity. Although “The Thursday Murder Club” isn’t attempting to make any self-important statements, there is a sly acknowledgment that people are generally less empathetic towards those whose voices are kept silent.
While “The Thursday Murder Club” has a delightful series of mini-mysteries that justify its two-hour running time, it’s the depth and personality brought by the cast that make it so engaging. It’s refreshing to see a film centered on old protagonists that doesn’t demean them and seems to generally care about issues that affect them. Instead of inserting lazy jokes about brittle bones and popping pills, “The Thursday Murder Club” shows how the insights and compassion of an older generation have been ignored. It’s also surprisingly nuanced in its depiction of how familial relationships can be strained. While the dynamic between Jason and Ritchie is rather wholesome, Jonathan Pryce appears in an emotional role as Elizabeth’s husband, Stephen, whose memories have begun to fade.
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While the unbridled enthusiasm that Imrie brings to her performance ensures that she’s an effective audience avatar, it’s Mirren that gets the showiest role. Elizabeth’s particular rules and procedures are wonderfully idiosyncratic, and the revelations about her past add texture when the central mystery runs a bit dry. Kingsley and Brosnan are often paired together, and complement each other quite well. If Brosnan is perfectly cast as a social leader determined to still do some form of public service, Kingsley has the quiet intelligence of a man who lived through countless extraordinary experiences.
Although it wouldn’t take a mystery expert to figure out where the case is headed, “The Thursday Murder Club” is a refreshing turn for director Chris Columbus, who is often not recognized as one of the most accomplished blockbuster filmmakers of the past several decades. Columbus calcified childhood innocence and whimsy with his work on the “Home Alone” and “Harry Potter” films, and he’s well-suited to showing that same comfort and wonder for an older cast of characters. Columbus’ films are cheerful without being simplistic, and “The Thursday Murder Club” is a well-oiled machine made by someone who has honed their craft.
The verisimilitude that Columbus brings to the material elevates it above other Christie wannabes, as he’s always been a filmmaker who has embraced the splendor that wholesome, middle-class working families can find in a life without luxury. If Columbus’s films like “Adventures in Babysitting” and “Mrs. Doubtfire” managed to work in nuanced insights on difficult familial dynamics, “The Thursday Murder Club” empathizes with the necessity of forging connections with those of different backgrounds. Many of the film’s best moments involve characters that simply take the time to learn more about one another; if it weren’t for the murder, “The Thursday Murder Club” would be a fun hangout movie.
The flatness of the central case does put a dent in the film’s pacing, as there’s a point towards the end at which the audience may feel a few steps ahead of the characters. There’s also a reliance on convenience that becomes a bit more frustrating than it is fun when previously unestablished characters begin to have more significance in tying off loose ends. Although there are a few nods to the film’s literary origins, “The Thursday Murder Club” isn’t prepared to deliver the type of academic analysis found in “Knives Out” or “Only Murders in the Building.”
It may seem ironic to say that a film about property management and law enforcement incompetence is “comforting,” but “The Thursday Murder Club” is an entertaining, if passive viewing experience with a great degree of charm. It’s nice to see Columbus return to such a playful, light-hearted romp that contains no cynicism, as it’s easily the most accomplished film he’s made in nearly two decades. It may not be a classic, but a world where “The Thursday Murder Club” inspires a franchise would do a lot of good.
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