A Talent for Murder (2026) – A Coming-of-Age Story Shaped by Psychological Games

Helen Mirren revises the mentor-and-elder role in this coming-of-age psychological drama as her character tries to make a man out of Alden Ehrenreich’s Edward Ridgeway.

ByAmari Allah Hours Posted on

Spoiler Alert: This summary and review contains spoilers.

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“A Talent For Murder” Film Details

Movie Summary

Edward considers himself a notable fan of Patricia Highsmith, the writer of The Talented Mr. Ripley, and feels he knows her work well. Highsmith, a recluse, stubborn, brilliant but lacking any desire for social niceties, doesn’t take kindly to Edward or the publisher sending yet another 20-something her way to convince her to write another Ripley novel.

But something about Edward intrigues Highsmith. It goes beyond his desire to prove himself, for there is darkness inside him. This leads Highsmith to use her own mother’s torturous tricks to mold Edward and make a man out of him. However, in pursuit of making a man out of Edward, she seems not to realize that this fan of her work could become like her dear shadow in Tom Ripley, perhaps to the detriment, or benefit, of a young woman named Clementine.

Cast and Characters

  • Edward (Alden Ehrenreich)
  • Patricia Highsmith (Helen Mirren)
  • Clementine (Olivia Cooke)
  • Ms. Grierson (Brid Brennan)

Review and Commentary

Who Is This For?

A Talent for Murder is for those who like an unconventional psychological film. It focuses less on twists and shocks and more on character development and relationships, showing that people don’t always become better by finding people they relate to, can learn from, or can be themselves around.

Highlight(s)

A Different Kind of Coming-of-Age Story [85/100]

One of the most interesting things about A Talent for Murder is watching Edward’s growth. Whether it is in his time with Patricia or Clementine, you understand why the sociopathic con artist Tom Ripley is one of his favorite literary works, and why Patricia is one of his favorite authors. Starting with his relationship with Patricia, I think he appreciates that she embraces life’s dark emotions and doesn’t push him to see the silver lining.

Yes, unfortunately for him, this means sometimes volatile interactions, with her testing his morality to see whether he is as good a person as he portrays himself to be, or simply someone who never had the chance to get away with it. Now, what exactly is “It?” That’s what she pushes him to discover. Can he imagine killing someone and feeling nothing? He paints the idea that he knows her work well enough to help, but can he think of a clever way to kill someone and get away with it? What about simply being bold in his everyday life?

There is a moment when Highsmith questions Edward’s sexuality because he lacks the qualities she associates with masculinity. He is soft-spoken and lacks the dangerous seductiveness she expects; in her mind, he reads as gay. To prove he can be more than the nice, charming man Clementine met on the train, Edward adopts a persona that makes her lustful, a little afraid of him, and eventually unable to live without him.

Which is where she comes in. Edward is portrayed as someone who is moving up the social ladder after humble beginnings. But while he has the look, and Clementine admires him for trying and for being intriguing, those with careful eyes see through the ruse. Ms. Grierson is one of those people.

Like Highsmith, she sees something in Edward, and unlike in most coming-of-age tales, she doesn’t seek to exploit his youth but to mold it. She points out where he slips and falters, makes it clear she is an ally rooting for him, and, while she may not know his end goal, she sees someone worthy of Clementine. And in combination with Highsmith, you can see them both give Edward the tools to not only be the kind of man Clementine desires, mentally, emotionally, and physically, but also a man who could stand on his own, without the money Clementine’s is promised to inherit.

The Dual Story [87/100]

Throughout the movie, the story blends Edward’s coming-of-age journey with his work with Patricia on a new Tom Ripley novel. At times, it can be hard to tell when Edward begins, and Tom ends, never mind when Patricia’s ideas for Tom’s next story end, or when her ideas for how Edward’s life should go begin.

Now, admittedly, at times things can get confusing, almost to the point of questioning what’s real and what isn’t. But that is what keeps you engaged throughout the hour-and-46-minute runtime. Is this all a manifestation of Patricia, trying to potentially work on one last story which has eluded her for so long? Is Edward real, maybe as unstable as Patricia, and under her wing, finding himself pushed to accept that he and her creation, Tom Ripley, could be one and the same?

Is everything we see with Clementine a mix of present and future? How much of it is a shared dream Patricia and Edward have, or Edward’s fantasy about this girl he keeps running into? Some aspects of the story they concoct, or Edward lives out, may raise the question of what is real and what’s fantasy; but for the most part, you get a film that holds steady at a thrilling pace.

On The Fence

Some Aspects Of Edward and Patricia’s New Ripley Story Challenge You To Suspend Disbelief A Little Too Far [77/100]

In some of the undeniable Tom Ripley parts of the film’s story, you have to let go of things that don’t make sense. This is especially true when it comes to Clementine’s family. When Tom reveals his true nature and commits increasingly nefarious acts, you’re not left thinking he’s smart or clever. Instead, you wonder how the people in Clementine’s life—and the police—could be so easily fooled.

While watching the movie, nothing is so bad that it takes you out of what’s going on. However, as you reflect on the film, you’ll start thinking about how Tom shouldn’t have gotten away with as much as he did.

Overall

Our Rating (83/100): Positive (Worth Seeing)

A Talent For Murder, for most of its runtime, knows how to keep you engaged, excited about what could come next, and questioning the psychology of not only Patricia, but eventually Edward.

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Amari is the founder and head writer of Wherever-I-Look.com and has been reviewing media since 2010. He approaches each production with hope, rooting for every story to succeed, and believes criticism should come from unmet potential, while praise is reserved for work that meets or exceeds expectations.