Magpie Review: Daisy Ridley Stuns In Compelling, Intoxicating Psychological Thriller

Domestic thrillers can be deliciously messy, but Magpie, starring the alluring Daisy Ridley in an ambitious and delectable role, takes things to the next level. The psychological thriller is engrossing, its slow-burn buildup feeding the fire that burns brightly in an immensely satisfying final act that is equal parts chilling and petty. Magpie turns certain tropes into narrative weapons, and it works at every turn, culminating in a finale that will leave you wanting more even as it gives us a tension-fueled conclusion.

Magpie Is Riveting & Clever

The fact that first-time director Sam Yates manages to pull off such a stunning and effective film is impressive. Working from a script by Tom Bateman, Yates infuses Magpie with a sense of unease from the start. It’s easy to decipher the marriage between Annette (Ridley) and Ben (Shazad Latif) from the very first scene they share. Ben’s not very present, his ego very big yet fragile after having not written a novel for some time. Annette is stuck at home all day with their newborn and is dismissed when she does attempt to chat. Their countryside home doesn’t do her any favors, considering how isolated it is.

Magpie cleverly weaves together a story that slowly builds towards Annette’s unraveling, which is hastened by Ben’s infatuation with Alicia (Matilda Anna Ingrid Lutz), an actress recently disgraced after a leaked sex tape makes its rounds online and who Ben meets on the set of their daughter Matilda’s (Hiba Ahmed) show. The film is often unsettling; the more Annette and Ben tip-toe around one another, the more heightened the unease.

Annette is written as a sad, lonely wife and the way Ben acts attempts to convince us of it, which lends to Annette’s increasingly erratic behavior. Magpie begins to turn her into a woman scorned, and it’s easy to see her driving motivations for certain behaviors. After all, Ben is an inattentive husband, though he plays the victim with Alicia. This dynamic works. As Annette’s actions become more erratic, the further Magpie establishes its brilliant final act. It’s a worthwhile ending in a film that never lets up. It helps that it’s exceptionally edited, brilliantly bringing its story threads together.

Magpie Is A True Showcase For Daisy Ridley

Ridley, whose post-Star Wars career has been quite intriguing and very indie, is fantastic here. Everything you need to know about Annette is written in her expressions and body language. 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.

Latif is also excellent as Ben, utilizing his character’s indifference to create a sense of unease and annoyance with both Annette and the audience. The way he comes alive when he’s with Alicia but deflates with his wife reveals his wandering attention, and the final scene between him and Annette is made all the more powerful because of Latif’s exuding shock. Lutz is great as Alicia, oscillating between sultry and down-to-earth whenever the need calls for it. By the end you’ll even be questioning her every word and interaction.

Magpie is deceptively good. It’s sexy and intoxicating and compelling. It’s the kind of film that, by the middle, will have its audience wondering where it’s going, leaving us with some guesses that don’t make the ending any less effective. It’s a gut-punch, an emotional and psychological thriller that remains engaging, well-paced, and riveting from start to finish. It’s a sizzling slow-burn that offers so much in terms of story and character development, with a finale that will leave your head spinning.