Prolific horror-thriller writer Ruth Ware’s novel “The Woman in Cabin 10” is the source material for Netflix’s new original mystery, directed by Simon Stone. The movie stars Keira Knightley as Lo, a persistent hotshot journalist. After a recent source from her high-profile article is drowned in retribution, her return to work is marked by flashbacks she’s hesitant to confront. But when opportunity strikes in the form of a new story, hosted aboard a three-day luxury cruise captained by dying billionaire Anne Bullmer (Lisa Loven Kongsli) and her husband, Richard (Guy Pearce), Lo sees it as a perfect marriage of work and leisure. She is to write an article about the ever-so-generous foundation the couple intends to form posthumously. But once on board, the story reveals itself to be much more sinister than anticipated.
Also aboard the yacht is Lo’s old situationship and assigned photographer, Ben (David Ajala), wealthy gallerist Heidi (Hannah Waddingham), her husband, Anne’s doctor (Art Malik), rockstar Danny Tyler (Paul Kaye), and his influencer PR-girlfriend (Kaya Scodelario), and socialite Adam (Daniel Ings). When Lo checks into her room, cabin 8, there are signs of a guest in her neighboring room: cigarette butts that blow from the neighboring balcony onto hers. Furthermore, in an attempt to avoid running into Ben in the hallway, she backs into the titular cabin and runs into a woman who has just gotten out of the shower. And later that night, Lo hears the commotion of a crime being committed, and witnesses a woman’s body thrown overboard.
However, when she reports it, hysterically but lucidly, everyone on board insists there was never a person housed in that cabin, all crew and passengers are accounted for, and the room is spotless and undisturbed. And so ensues a film reminiscent of “Flightplan” or an old Agatha Christie ensemble story, as Lo shuns the incessant refusals to pursue the real story on board, even if it puts her life at risk.
For fans of a mystery tale, “The Woman in Cabin 10” is plainly suitable. It’s simple and snappy, like reading an airport novel. The confined location works well for building tension, using a glamorous surface and labyrinthine underbelly to parallel the story’s own themes. And while predictable, it’s still decently entertaining to watch the facade unravel. The script falls victim to some indisputably dumb character behavior, particularly in Ben, whose sole purpose is to keep the machine churning for the next twist. And once all is revealed, there’s still another act left that pumps the brakes with unneeded vigor to turn towards a conclusion.
All the acting is just fine. Like a game of Clue, this ensemble cast is full of archetypes who play their roles to be as perfectly ignorant, flippant, or sinister as the film’s limited story will allow. The moving parts of this thriller are subservient to nailing plot points down on a bulletin of perfectly wound red twine. On account of this, “The Woman in Cabin 10” entertains enough to pass the time, but certainly doesn’t thrill.
