George (Maurice LaMarche) and Charlie (Charles M. Howell IV) are a writing duo who have differing tastes. George wants something that sells with commercial appeal while Charlie wants something with more substance which will give audiences something to think over while watching his play.
They can’t even decide whether they want their script to be a movie or a play in the first place, all they can agree on that it has to involve a murder. However, the more they disagree the more outlandish and far-fetched their ideas become.
Murder, Anyone? is a movie based on the play of the same name written by Gordon Bressack, directed by his son, James Cullen Bressack. With many original cast members returning and friends of Gordon amongst the cast, it serves as a fitting tribute to their friend who passed in 2019.
However, for those who are unfamiliar with Bressack’s work then there may be a lot to get through and unfortunately without going to the theatre, this may be the only way his work will be judged.
Going through the movie, George and Charlie argue about the many different directions that their script could go. They build upon characters, add various plot twists and even throw things in to make it more exciting. Serving as a writer practically talking to himself as he struggles with art versus commercialism, there’s a discussion there about being true to your vision and just giving an audience what they want.
The trouble is that the observations that are made are all too commonly considered by a wider audience anyway, which suggests that a certain fanbase may enjoy its satire while others may not. Also, turning the play into a movie has its issues because the way it’s filmed does not seem all that cinematic. Cutting back and forth between the writers and cast as they adjust their writing is funny at first, but extended scenes of actors deliberating hamming it up may grate on the audience.
However, Murder, Anyone? has good intentions and it cannot be criticised for not being made with love. A play turned movie made by friends for their good friend may find an audience, but perhaps only those who have already seen the play.
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