The Overworked Thriller Formula Needs a Rewrite

Neil LaBute’s latest film, Murderous, has been making waves at the Oldenburg Film Festival, but unfortunately, it relies on tired and overfamiliar thriller tropes rather than pushing the boundaries of storytelling. As a writer and director known for his sharp social commentary, LaBute seems to be relying more on tried-and-true formulas than exploring new ideas.

The plot centers around Marian, a successful filmmaker who returns from Iowa to confront her about using their shared idea without compensation. This setup feels like a watered-down version of Joseph L. Mankiewicz’s Sleuth, with LaBute borrowing elements from Hitchcock’s Rope as well. However, the execution falls flat, and the plot machinations are predictable and forced.

The single-location setting and sparse cast initially seem bold choices, but they end up feeling like an exercise in claustrophobia, where tension between characters barely masks the contrived nature of the narrative. The dialogue, while sometimes witty, often feels like a series of awkward silences waiting to happen.

LaBute explores themes such as jealousy and the commodification of art with timeliness and thought-provoking intent. However, it’s clear that he’s more interested in manipulating his audience than genuinely exploring these ideas. Marian’s character is particularly one-dimensional, serving only as a proxy for LaBute’s own frustrations with the film industry.

The arrival of Lila, an older woman who claims to be a fan, adds another layer of tension to the story. However, her true intentions are telegraphed from the start, and her character feels like a convenient plot device rather than a fully fleshed-out person. The conversation between Marian and Lila is perhaps the most interesting part of the film, but it’s clear that LaBute is using this as an opportunity to vent his own frustrations with the industry.

The lack of subtlety in the plot machinations is particularly jarring. These manipulations might have worked onstage, where a live audience would be eager to be manipulated, but they fall flat on screen. It’s clear that LaBute is trying to create tension, but it comes across as forced and artificial.

LaBute’s previous work has shown a keen eye for social commentary, but in Murderous, he seems content to rely on familiar tropes rather than exploring new ideas. The result is a film that feels like an undernourished stage thriller, lacking the complexity and nuance that his best work demands. It’s time for LaBute to take a step back and reevaluate his approach, lest his latest effort become another forgotten entry in the crowded field of thrillers.

The film’s themes are timely and thought-provoking, but they’re handled with all the subtlety of a sledgehammer. LaBute’s exploration of these ideas feels forced and artificial, and it’s clear that he’s more interested in manipulating his audience than genuinely exploring complex issues.

Murderous feels like a missed opportunity for LaBute to push the boundaries of storytelling. Instead, he relies on tired thriller cliches, forcing a narrative that feels predictable and contrived. It’s time for writers to take risks and try new things, rather than relying on overworked formulas. The world of film needs more originality, not just from the stories being told but also from the way they’re being told.