What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Your blood may run cold, but you now find yourself pinioned to the story.

This is an astonishing documentary that will wring your heart while it bends your mind

Mostly, the movie is committed to the value of a good time.

An Entertaining murder mystery that perhaps stretches it's gimmick a tad bit too long.Let's get this out of the way. The performance are fantastic. It's the verbal sparring between them that provides the movie's bread and butter. It's a treat to watch such immensely talented actors go at one another. It's worth watching the movie for them alone. While the movie is largely shot in one house you would be hard pressed to want a change of scenery. It's basically a two man show aside from the entry of one other actor. And it would be hard to lose one's attention from the witty banter between the leads.Sleuth starts with a simple premise that slowly grows more complex. There are joys to be found in the twists and turns of the plot. And even if the last act feels like a little long it's still intellectual enough to keep us invested. Guys like me who have grown up with detective stories will find a lot to enjoy in this. Why don't they more movies like this?Highly recommended. Had a great time.

You can tell this movie was based on a play because it's all set in one place and there's a clear turning point in the middle. The performances are theatrical, not over-the-top but with wide ranges of emotions. There are so many swings of power between the main characters. They are cocky and childishly gleeful when they're in control and miserable or desperate when they're being taken advantage of. It's impressive that Sleuth consistently maintains our interest with so few actors and only one location.I'm not sure there's much depth to the story. It's more psychological, about the way we manipulate each-other or try to get the upper hand. It reminds me of The Prestige where two magicians try to outsmart each- other, weaving traps for each-other, hopelessly falling into them and growing ever more spiteful. The ironic thing with so many of these endless, spiraling conflicts is how similar the two parties are. Palestine and Israel, Serbia and Croatia, Borden and Angier, Andrew Wyke and Milo Tindle. Why must they be antagonistic when they have so many common interests and could help each-other immensely?The mansion has a personality of its own. The dolls, toys and collectibles are given screen-time of their own. It would be a mistake to read too much into those close-ups. It works simply in creating mood and giving us time to think. Plus, it adds a bit of creepiness. As if all the events are being watched. There are certainly some aspects of horror to this movie. The music is nice as well although I don't think there was much. The cinematography is simple but effective. It feels non-intrusive but makes the scenes more dynamic somehow.This movie plays out a bit like a mystery thriller, a whodunnit. An investigator comes regarding a possible murder but indeed, the plot thickens. It's hard not to give anything away. But movies shouldn't lean too heavily on twists lest they are predicted and that was an issue here. The movie is perhaps too clever for itself. It becomes a pattern and loses meaning and realism to the point that I didn't believe anything the characters said or did. For all I knew, it was just another part of their game.I actually expected more twists than there were. So I felt a bit let down. It seems to go 3/4 of the way and then back down. There's no clear message, it's just entertainment, but then why not bring down the house with a great surprise ending? Nevertheless, Sleuth manages to keep things tense and interesting all the way through. The directions it takes you are certainly creative and unexpected. It gradually evolves through many different atmospheres. Laughter gives way to shouting or crying or relief. The actors do a very good job. But it's all merely an exercise, albeit a fun and unique one.

I believe the title of Sleuth may be misleading. When I first approached it I wasn't aware of the stage play it was based on and thought the film was going to be a standard "whodunit?" and thus wasn't expecting much from it. I couldn't have been more wrong. Watching it I soon discovered it to be a different film entirely, a giant mind game, a battle of wits and a tale of revenge. I've never seen a film quite like Sleuth before. The exploits between Michael Caine and Laurence Oliver trying to outwit each other with the plot's many twists, surprises and under the direction of Joseph L. Mankiewicz' (a master at handling dialogue) makes for a film that's hard to forget.Watching this film I quickly came to realize that Caine and Olivier may be the only two cast members throughout, which had me thinking if they could carry the film to the very end by themselves it will be nothing short of an acting marvel, so I was disappointed when the movie introduced what appeared to be a third cast member, Alec Cawthrone as Inspector Doppler; I felt the movie was making a mistake by doing so. That was until it turned out that Inspector Doppler was Michael Caine in disguise the whole time, yes, there's no such actor as Alec Cawthrone, he was simply created for the film's credits. I'm not sure how many people will be as perceptible as I was but the movie successfully fooled this viewer. On second viewing I can clearly see Caine through the disguise but I'll always have the memory to cherish of being spellbound the first time round from seeing Caine taking off all that makeup, which itself makes up appreciate the art form. Sleuth actually has a fake cast list in the opening credits in an attempt to fool the audience; this includes three other nonexistent actors, one of which is named after the character Eve Channing from Joseph L. Mankiewicz' earlier film All About Eve. Up until the film's very last scene in which police sirens and knocking on the door can be heard, I was edge of my seat hoping the movie would not introduce another cast member.I've always liked Michael Caine but Sleuth greatly increased my respect for him, while also making me a fan Laurence Olivier; their ability to carry this film is nothing short of phenomenal. Milo Tindle is one of Caine's more effeminate roles, a hairdresser who even takes joy in wearing a piece of women's clothing at one point. Olivier on the other hand is the given the opportunity to have tons of fun with his role of Andrew Wyke, doing impressions and playing dress up with another grown man and with all those gadgets, gizmos and games everywhere, it's always a pleasure to look into the background of Andrew Wyke's manor. Likewise the humor that comes from seeing a man be show how convinced that dressing as a clown is the way to go when doing a stage crime, has me laughing nonstop through the entire charade.

Sleuth is a screen writing master class. Rich writer Andrew (Olivier, rarely better) invites Milo (Caine, a worthy sparring partner) to his country mansion with an offer. What starts as a heist movie becomes a psychological thriller about vengeful men trying to outplay each other.Now, how do you keep a story about few characters stuck in a single location interesting? First, conflict. The movie is drenched in it. Milo - young, handsome - is the lover of Andrew's wife. Andrew claims not to care but, from the way he glances at her portrait or casually trashes her stuff, we know better. Class antagonism sizzles. To Andrew, Milo is an upstart, a social climber - and a son of immigrants, to boot. To Milo, Andrew is a pathetic relic, obsessed with games and murder mystery novels. Two men who dislike each other and yet have to interact and cooperate - this is inherently compelling to watch.Second, variety. Sleuth continuously challenges the viewer's allegiance. We are never sure whom we are rooting for - both characters are, at their core, unpleasant, reptilian sickos, but they are smart and unpredictable. Situation is fluid, always evolving; they're constantly turning the tables on each other.Third, dialogue. Each of the two leads has his own peculiar voice. Erudite Andrew asks Milo to trash the room, as to create believable signs of struggle, and adds: "Convincing, not Carthaginian". A bitter undertone of class resentment often slips into Milo's words: "We come from different worlds, you and me... the only game we played was to survive... if you didn't win, you just didn't finish. Loser, lose all. You probably don't understand that".As the plot unfolds, games become the main theme of the movie. Sex as a game ("And marriage is the penalty!", comments Andrew); a criminal plan temporarily becoming a playful bonding moment for the two; class-conflict as a zero-sum game; the constant attempt to show one's superiority over the other. Then games take a darker turn - somewhere between Darwin and Freud. The sadistic pleasure of knowing you've got the best hand against a hated adversary becomes the whole purpose of the game itself.9/10