A Talent for Murder (2026) Bleecker Street/Drama-Thriller RT: 106 minutes Rated R (sexual content, some violence and language) Director: Anton Corbijn Screenplay: Joanna Murray-Smith Music: Dickon Hinchliffe Cinematography: Robbie Ryan Release date: October 23, 2026 (US) Cast: Helen Mirren, Alden Ehrenreich, Olivia Cooke, Juliet Stevenson, James Faulkner, Brid Brennan.
Rating: ***
What happens when the creator of Tom Ripley becomes the architect of her own psychological trap? In A Talent for Murder, Anton Corbijn (The American) trades traditional biography for a sleek, slippery game of literary blackmail, trading a traditional biopic for a sleek, slippery game of literary blackmail.
Adapted from Joanna Murray-Smith’s play Switzerland, A Talent for Murder stars Helen Mirren (The Queen) as Patricia Highsmith, the abrasive author best known for her “Ripliad”, the five books featuring amoral protagonist Tom Ripley, a charming sociopath and serial killer. I’ve never read any of her books, but I did see the film adaptations of Strangers on a Train (1951), The Talented Mr. Ripley (1999) and its French counterpart Purple Noon (1960). They’re all good and clearly the work of a twisted mind. As played by Dame Mirren, she was quite the character.
A Talent for Murder tells the completely fictitious story of a young literary agent trying to persuade Highsmith to write a sixth Ripley novel. Edward Ridgeway (Ehrenreich, Weapons) travels by train to meet the reclusive writer at her Swiss chalet. On the way, he meets an attractive young woman named Clementine Harriet Balfour (Cooke, House of the Dragon). The two strangers on a train flirt with each other before parting ways (NOT forever).
Highsmith doesn’t exactly greet her guest warmly when he arrives at her home. Instead, she wants him to go away, but not before he gives her the items she asked him to bring, one being a knife for her collection of weapons (guns and knives) hanging on the wall. Eventually, Edward’s charm wins her over (sort of) and she agrees to let him stay the night at least.
What starts as a psychological battle of wits turns into a brainstorming session as they talk about a plot for a new Ripley story. This is where line between fact and fiction starts to blur. Ridgeway becomes Ripley in a story-within-a-story about the suave con artist romancing a young woman (depicted as Clementine) who stands to inherit a huge trust fund from wealthy relatives. He concocts a devious plan to expedite their demise.
Back in the real world, Highsmith challenges Edward to come up with a clever way to murder one of the relatives. If she likes it, she will write the book. The boundaries of reality start to warp as Edward shifts from corporate lackey to the living embodiment of Ripley, adopting a seductive and menacing persona that mirrors Highsmith’s literary child. It shows in his interactions with the real Clementine who also has a trust fund waiting for her.
The two lead performances in A Talent for Murder are phenomenal. Mirren doesn’t merely play Highsmith; she embodies the cantankerous, antisocial author in all her misanthropic glory. Every razor-sharp word is delivered with the pointed precision of a dagger laced with poison. It perfectly matches her co-star’s deceptively calm counter-performance. Ehrenreich plays the dual role, the eager rookie and the smooth psychopath, with confidence, ultimately merging the two personas seamlessly. The verbal sparring between him and Mirren is a true highlight thanks to sharp and witty dialogue written by Smith adapting her own work for the big screen.
The claustrophobic setting, captured beautifully by cinematographer Robbie Ryan (Bugonia), brings to mind Joseph L. Mankiewicz’s 1972 adaptation of Anthony Shaffer’s Sleuth (1972). He deftly balances the shadow-drenched interiors with stark, sweeping backdrops showcasing the Swiss landscape with its crystalline, cold skies. It perfectly augments Corbijn’s signature moody, high-contrast aesthetic with the sharp lighting to mirror the mental sparring and moral ambiguity of Highsmith’s dark universe.
For all its good points, A Talent for Murder suffers from pacing issues and an ending that feels rushed. It’s quite stagey at times, but given that it is an adaptation of a play, that’s to be expected. It’s a dialogue-heavy piece that will definitely put a few viewers off. The finale is somewhat confusing, but I suspect that’s the point with the blurred line between the real and unreal. The film loses something when Mirren isn’t on-screen. Her portrayal of Highsmith definitely deserves notice at this year’s Academy Awards.
It’s safe to say A Talent for Murder will not appeal to all audiences. Anyone not familiar with Highsmith or her literary child Ripley will be lost at sea. On the other hand, it may inspire some to read her work. I’m giving serious thought to it myself.
