Many believe that going into a movie with moderate expectations is the best way to avoid disappointment. In the case of The Thursday Murder Club, the bar was indeed set fairly low. Chris Columbus (Home Alone) has always worked better for me as a producer than as a director. Although his filmography includes several major popular hits, I’ve rarely felt a true authorial personality in his filmmaking. Unfamiliar with the source material but being an avid fan of the murder-mystery genre, I entered with an open mind, motivated mainly by the stellar cast assembled. Helen Mirren (The Queen), Pierce Brosnan (GoldenEye), Ben Kingsley (Gandhi), and Celia Imrie (Calendar Girls) promised at least some entertaining chemistry, even if the film didn’t reach the brilliance of others in the genre.
Adapted by Katy Brand (Good Luck to You, Leo Grande) and Suzanne Heathcote (Killing Eve), The Thursday Murder Club follows a group of retirees who gather to investigate unsolved murders, suddenly finding themselves caught up in a case far more complicated than they expected. On paper, it’s the kind of premise that has everything needed to entertain: an intriguing mystery, charismatic characters, and a healthy dose of British humor. In practice, however, the execution leaves much to be desired.
The strongest aspect of The Thursday Murder Club becomes clear early on: the cast. Watching veteran actors like Mirren, Brosnan, Kingsley, and Imrie share the screen is an undeniable pleasure. Their chemistry is palpable, and the group dynamics are often the most engaging part of the movie. Mirren naturally stands out as the most mysterious protagonist, always carrying that enigmatic aura that invites speculation. Still, it’s Brosnan who steals the show comedically, delivering the funniest moments with what feels like genuine enjoyment in poking fun at the aging leading-man persona.
Yet, as capable as they are, the characters ultimately feel shallow. The Thursday Murder Club chooses to reveal their traits through expository dialogue, with each person summarizing their life before and after retirement. It’s a functional method, but it fails to generate any real emotional investment. They’re figures in service of the plot, necessary elements to keep the mystery moving, but rarely anything more.
Unfortunately, that central mystery lacks the vigor or originality to sustain interest for two hours. It comes across as overly generic, built on puzzle pieces that fit together without much surprise. The audience watches events unfold without encountering impactful twists or truly unexpected revelations. There’s never a sense of imminent danger, and the stakes never feel weighty. The overly bright, TV-like aesthetic typical of Netflix productions only reinforces the sense of artificiality. It’s impossible not to think of Knives Out, which, despite being equally colorful and accessible, struck the perfect balance between mystery, humor, and social commentary – something The Thursday Murder Club never manages to do.
It’s also worth highlighting an often-debated point when it comes to this genre: predictability. There’s a tendency to judge these films solely on their ability to surprise, as if solving the mystery before the finale automatically equates to the movie’s failure. Personally, I find that approach simplistic and even arrogant. Figuring out the ending ahead of time doesn’t make the viewer a more attentive critic, nor does it necessarily make the film inferior. The issue with The Thursday Murder Club isn’t that the solution can be guessed, but rather the emptiness that lingers even once the puzzle pieces fall into place. What’s missing is intensity, emotion, and that spark that can turn the predictable into the memorable.
On a technical level, there’s little to highlight. The score by Thomas Newman (American Beauty) fulfills its role elegantly, adding some texture to an atmosphere that would otherwise feel too sterile. The filming location carries an undeniable British charm, but it’s never explored with much creativity by Columbus’ eyes. Everything works; nothing stands out.
Thematic disappointment runs even deeper. The Thursday Murder Club had the chance to explore rich, universal questions: aging and mortality, the importance of friendship and community, the weight of justice and regret in the later stages of life. Yet, as with the characters, these ideas remain on the surface. Occasional lines hint at deeper reflection, but there’s never the courage to dive into those waters. The result is a story that may be pleasant on the surface but rings hollow by the time the credits roll.
The Thursday Murder Club is a formulaic and forgettable effort. It’s not a disaster – the magnetic presence of the cast ensures it never sinks that low – but it also offers nothing we haven’t already seen in second-tier television productions. For those like me who get excited about the murder-mystery genre, the experience feels like a wasted opportunity. The lighthearted humor isn’t enough to make up for the lack of tension. For those looking for light, undemanding entertainment, it may serve as a decent diversion. But for anyone hoping for more than the bare minimum, it will struggle to rise above mediocrity.
