“Gaslighting” has become an overused term in modern society’s lexicon; who would have thought that a 1944 thriller/mystery starring Ingrid Bergman called Gaslight would cause such a stir? The definition of gaslighting is to manipulate someone using psychological methods into questioning their own sanity or powers of reasoning. Magpie, a new thriller starring and with an original story concept by Daisy Ridley, directed by newcomer Sam Yates and written by Tom Bateman, makes good use of the aforementioned term. 
The story revolves around a married couple, Annette (Ridley) and Ben (Shazad Latif), who struggle to stay emotionally above water despite having two young children and a stunning countryside mansion. It seems at first to stem from postpartum depression on both of their parts (which is completely normal in real life and needs to be depicted more often in mainstream films, so kudos to the filmmakers), but more details emerge as the movie progresses. Their child Matilda (Hiba Ahmed) lands a role in a period piece starring famed actress Alicia (Matilda Anna Ingrid Lutz), who becomes the object of Ben’s obsession, adding much growing pent-up fury in Annette.
Annette will open up Ben’s laptop and see pictures of Alicia plastered all over the screen, or worse yet, catch him watching the star’s tabloid sex video. Ben has always got an excuse for his behavior and loves to turn the tables on Annette, trying to say that it’s her own mind that is playing tricks on her. Other than being a gaslighting philanderer who neglects his kids (he loses his daughter on set one day while trying to sext with Alicia), he doesn’t seem all that bad at first by being gentlemanly and chivalrous (except it’s mostly to Alicia), but the classic villain is painted with these strokes as Magpie goes on.

“…revolves around a married couple…who struggle to stay emotionally above water…”
This is a tightly-paced thriller pulled from a scenario that is not too difficult to imagine (I’d love to ask Ridley exactly how she came up with this idea because I’m sure she’s had many Star Wars-obsessed fans). The superb acting all-around draws you deeper into the rabbit hole. Daisy Ridley, with her short haircut, which is talked about in the film and helps her blend more into this character, is a force of nature as a scorned woman who lets every detail stew rather than explode. You can’t help but be fixated on Annette and whether or not she will finally snap. It’s masterful acting on Ridley’s part, showing that she’s got Oscar-worthy chops.
Hiba Ahmed and Matilda Anna Ingrid Lutz are engaging as well because they have to display chemistry and charm to make the love triangle dilemma work. The vilification of Ben makes the story easier to go down, but it also takes him further from being the relatable character that he starts off as. Anyone could fall for an alluring movie star; my only gripe is that I think I’m more intrigued by the ambiguity of that situation than by being hit over the head with how to feel. As it is, the story has some twists and turns that wrap up satisfyingly by the end for the audience. 
Daisy Ridley leaves a lasting, indelible impression as Annette, becoming the personification of old-school hip-hop, saying, “Don’t push me because I’m close to the edge.” At the same time, Ben may have taken some cues by listening to “You better check yourself before you wreck yourself.”