--- title: "Wicked Little Letters" year: 2024 kind: "film" canonical: "https://film.one/film/wicked-little-letters" fi1m_id: "wicked-little-letters" imdb_id: "tt20234774" tmdb_id: 975773 wikidata_id: "Q115516638" fi1m_score: 61 critics_score: 60 critics_reviews: 21 published: "2026-09-09" updated: "2026-09-18T08:37:59.856019+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Wicked Little Letters (2024) Directed by Thea Sharrock · 1h 40m · MPA R · Comedy, Drama, Mystery ## Identity Wicked Little Letters - **Canonical:** https://film.one/film/wicked-little-letters - **Type:** Film - **Fi1m ID:** wicked-little-letters - **IMDb ID:** tt20234774 - **TMDB ID:** 975773 - **Wikidata ID:** Q115516638 - **Same entity:** https://www.imdb.com/title/tt20234774/, https://www.themoviedb.org/movie/975773, https://www.wikidata.org/wiki/Q115516638 **Fi1m score: 61** · Critics 60 from 21 reviews *In a sentence:* Filthy letters, a pious daughter and a terrifying father; the swearing gets tired long before Timothy Spall does > Thea Sharrock’s poison-pen comedy has Olivia Colman, Jessie Buckley and a script that swears like a docker, and for half an hour that is enough. Then the joke wears thin, the mystery solves itself and the film backs away from the sadder story it keeps glimpsing. ## Synopsis In a small English seaside town in the 1920s, Edith Swan (Olivia Colman), a devout unmarried woman who lives with her parents Edward (Timothy Spall) and Victoria (Gemma Jones), is receiving anonymous letters of extraordinary filth. Suspicion falls on her neighbour Rose Gooding (Jessie Buckley), a loud single mother whose vocabulary is a matter of public record, and the police arrest her. Woman Police Officer Gladys Moss (Anjana Vasan), the only person in the station who reads the evidence rather than the accused, doubts Rose wrote it and, with the help of the town’s women, sets out to prove it. Thea Sharrock directs from a script by Jonny Sweet; 100 minutes, certificate 15. ## Review Thea Sharrock’s film takes a real poison-pen scandal and plays it as a comedy of manners with the manners removed. A respectable household starts receiving letters of astonishing obscenity; the disreputable woman next door is blamed; a policewoman nobody listens to smells a rat. Jonny Sweet’s script has one big joke, those words in those mouths in that town, and for the first half hour the joke works. Then it has to carry a plot and a mystery for another seventy minutes, and it struggles. Colman plays Edith Swan as a woman who has been good for forty years and has begun to suspect it was a mistake. She reads each letter aloud with her eyes down and her colour rising, and Colman gets a laugh from the pause before the worst word. Buckley’s Rose Gooding is the opposite proposition: loud, drinking, swearing at the constabulary and adored by her daughter Nancy (Alisha Weir). The two women share a wall and a brief friendship, and the film’s best scenes are the early ones where Edith watches Rose live and cannot work out whether she is appalled or jealous. Timothy Spall is the reason to take the film seriously. Edward Swan runs his house by scripture and small humiliations, and Spall plays him without a wink: a man who corrects his grown daughter’s posture at the table and calls it love. We laughed a great deal in the first act and then, in one scene at the Swans’ dinner table, went quite still, because Spall had shown us what forty years in that house would do and the film had, for a minute, stopped joking. Gemma Jones, as his wife, says almost nothing and lets us see what compliance costs. Cristina Casali dresses the Swan house in brown paint, lace and closed curtains, and Rose’s next door in whatever was cheapest and brightest. Anjana Vasan walks off with the middle of the film. Gladys Moss is a Woman Police Officer, a title her colleagues pronounce as though it were a medical condition, and Vasan plays her with a stiff back and the face of someone doing the arithmetic while everyone else shouts. Hugh Skinner’s Constable Papperwick is a fool and Paul Chahidi’s Constable Spedding is a bully, and both outrank her. Joanna Scanlan, Eileen Atkins and Lolly Adefope form an unofficial investigation over tea; their scenes are the film’s warmest and its most familiar. Ben Davis shoots the town in bright seaside light and the police station in the colour of weak tea, and Charlotte Walter puts Edith in buttoned grey and Rose in a man’s jacket and a red scarf. The trouble is the swearing. The letters are read, then read again, in court and in the pub and at the station, and Melanie Oliver’s editing strings the readings into montage as if quantity might do the work of wit. By the hour mark we had stopped hearing the words, and a film built on shock had become a film built on repetition. Isobel Waller-Bridge’s score, all plucked strings and jaunty nudges, keeps telling us this is frightfully naughty at moments when the material is closer to frightening. The mystery, meanwhile, is barely one. The film shows its hand before the halfway mark, and the final third becomes a caper about proving what everyone watching already knows, with women hiding behind hedges. Underneath is a sadder film about what a woman does with rage she is not permitted to feel, and about a town that would rather punish the loud woman than look at the quiet one. Sweet and Sharrock keep glimpsing it and then reaching for another rude word. Set beside *The Favourite* (2018), where Colman’s swearing came out of a character’s pain and stayed there, this is a film that has learned the words but not the reason for them. It runs 100 minutes, carries a 15, and is easy company at home, where the repetition matters less and Spall matters more. Go in for Colman, Buckley and Vasan, and leave the title’s promise of wickedness at the door; this is a cosier film than its language. *Fi1m score 61, published 9 September 2026.* ## What the critics say Most critics agree on where the pleasure lies and disagree about whether it is enough. Olivia Colman and Jessie Buckley are praised almost everywhere, as a pairing more than separately, and the profane script gets credit for letting them trade insults with obvious relish; Timothy Spall and Anjana Vasan are singled out by several as strong support. The reservations cluster around the swearing itself, which many find tiresome once the novelty wears off, and around a tone that swerves between cosy period comedy and darker material without settling. Several reviews say the plot is thin and the mystery obvious, and that the film raises misogyny and race without exploring either. The spread is wide. Deadline finds it fantastically funny, while The Guardian calls it unfunny and heavy-handed and the Evening Standard thinks even the two leads are below their best. The British papers are noticeably colder than the American ones. ## Straight answers **Is Wicked Little Letters worth watching?** *Wicked Little Letters* is worth watching for admirers of Olivia Colman, Jessie Buckley and Timothy Spall, and we scored it 61. The swearing carries the first half hour and then wears thin, the mystery solves itself early, and the film backs away from the sadder story it keeps glimpsing. It is easy company at home rather than an evening out. **How long is Wicked Little Letters, and what is it rated?** *Wicked Little Letters* runs 1h 40m and is rated R by the MPA in the US. It is a comedy and drama film. **Where can I watch Wicked Little Letters in the US?** *Wicked Little Letters* is streaming on Disney+ in the US, and it is also available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Wicked Little Letters, and is it suitable for children?** *Wicked Little Letters* carries a 15 certificate for sustained strong language rather than violence; the obscene letters are read aloud repeatedly, in court, in the pub and at the police station. There is little to frighten anyone, though Timothy Spall's domineering father makes one dinner scene uncomfortable. It is not for children, and teenagers under fifteen are excluded by the certificate. **How does Wicked Little Letters compare to The Favourite?** *Wicked Little Letters* is the cosier and slighter of the two films, and [*The Favourite*](https://film.one/film/the-favourite) is the better one. Both have Olivia Colman swearing in period dress, but in Lanthimos's film the cruelty comes out of a character's pain and stays there, where here the rude words are the joke and the pain is glimpsed then dropped. Choose *The Favourite* for discomfort, this for gentler company. **What should I watch after Wicked Little Letters?** After *Wicked Little Letters*, try [*The Favourite*](https://film.one/film/the-favourite) (2018, Fi1m 87): Colman swearing in period dress, with the cruelty the words are actually for. Then [*The Ladykillers*](https://film.one/film/the-ladykillers) (1955, Fi1m 86): A respectable old lady, a house of villains, and Ealing at its darkest; and [*Wild Rose*](https://film.one/film/wild-rose) (2018, Fi1m 82): Buckley as a Glasgow singer whose mouth gets her into trouble and out of it. ### Reviews we read (25) - **RogerEbert.com**, Sheila O'Malley (80/100, inferred): The film is a really effective British mystery spiked with caper comedy. Colman and Buckley make a pleasing pairing as the two leads with very different styles of openness. [Read](https://www.rogerebert.com/reviews/wicked-little-letters-film-review-2024) - **Screen Daily** (80/100, inferred): An enormously entertaining period romp with a gloriously profane screenplay that allows Colman and Buckley to flex comedic talents, delivering a blast of subversive swearing in a cosy setting. [Read](https://www.screendaily.com/reviews/wicked-little-letters-toronto-review/5185769.article) - **The i Paper**, Matthew Turner (80/100, inferred): The critic calls it an unfailingly entertaining sweary Britflick with breezy pacing and a terrific cast, highlighting Colman’s enjoyment in the role and Buckley’s perfect casting as the likeable force of nature. The story is simplistic but charming overall. [Read](https://inews.co.uk/culture/film/wicked-little-letters-review-olivia-colman-foul-mouth-funny-2918318) - **The New York Times**, Alissa Wilkinson (75/100, inferred): Olivia Colman and Jessie Buckley elevate a silly comedy about a weird true tale of defamation and dirty words. The movie is a darkly funny take leaning more toward farce than darkness. [Read](https://www.nytimes.com/2024/03/28/movies/wicked-little-letters-review.html) - **Empire**, Laura Venning (70/100, inferred): The critic notes repetitive insults do most of the comedic heavy lifting and the film is overly quirky at times, but it fares better with drama and social commentary; Colman effortlessly elevates weaker material while Spall and Buckley are compelling. [Read](https://www.empireonline.com/movies/reviews/wicked-little-letters/) - **Variety**, Peter Debruge (70/100, inferred): The irreverent arthouse movie tweaks a traditionally over-polite genre with an entertaining account of a primitive form of online flame wars. It is a bawdy black comedy that isn’t nearly as “outrageous” as it would have you believe. [Read](https://variety.com/2024/film/reviews/wicked-little-letters-review-olivia-colman-jessie-buckley-1235862462/) - **Radio Times**, James Mottram (3/5): A perverse twist on the typical period comedy with an uneven tone and good cast performances, but it lacks consistency especially in the frantic final third. [Read](https://www.radiotimes.com/movies/wicked-little-letters-review/) - **Time Out**, Helen O’Hara (3/5): It's a sweary but cosy period comedy that's not quite wicked enough, with fun performances and language but lacking sharpness and focus amid touched-on issues. [Read](https://www.timeout.com/movies/wicked-little-letters-review-2024) - **Vulture** (60/100, inferred): The film is a serviceable trifle with a great psychosexual drama lurking inside, but wastes its premise and cast with treacly comedy and a reductive approach. It delights in naughtiness but should have embraced its perversion more fully. [Read](https://www.vulture.com/article/wicked-little-letters-review-shouldve-been-naughtier.html) - **Los Angeles Times**, Robert Abele (50/100, inferred): The shock value feels about a century too late in this occasionally amusing but ultimately worn-to-the-bone joke of a potty-mouthed period comedy. It is benignly enjoyable in its take on a true story of hidden feelings and farcical expression. [Read](https://www.latimes.com/entertainment-arts/movies/story/2024-03-30/wicked-little-letters-review-olivia-colman-jessie-buckley-timothy-spall) - **Total Film**, James Mottram (50/100, inferred): The critic describes an ultimately rather cosy tale of British eccentricity with eminently watchable stars and excellent support, but criticises erratic tone, descent into farce, and failure to fully explore deeper social issues. [Read](https://www.gamesradar.com/wicked-little-letters-review/) - **Little White Lies**, David Jenkins (3/2/2): The critic finds it a flimsy comic farce that squanders potential with thin material and tired humour. Colman is hampered by the overly quaint parochial tone and lack of depth. [Read](https://lwlies.com/reviews/wicked-little-letters) - **The Telegraph** (40/100, inferred): The film tries to blend chocolate-box period drama with ornate swearing but the excessive profanity quickly becomes tiresome and fails to compensate for a thin plot and exhausted mystery. [Read](https://www.telegraph.co.uk/films/0/wicked-little-letters-review-olivia-colman-jessie-buckley/) - **Evening Standard**, Nick Howells (30/100, inferred): The critic finds the swearing gimmick quickly tiresome and the film a daft, bumbling farce that fails to sustain laughs, with Colman and Buckley delivering less than stellar work overall. Spall’s performance is singled out as the sole standout. [Read](https://www.standard.co.uk/culture/film/wicked-little-letters-movie-review-olivia-colman-jessie-buckley-swearing-b1140533.html) - **The Guardian**, Peter Bradshaw (30/100, inferred): The critic finds the film unconvincing, unfunny and heavy-handed, sidestepping any deeper insight into the real scandal in favour of broad, misjudged laughs. It wastes a strong cast despite occasional moments lifted by the actors' talent. [Read](https://www.theguardian.com/film/2024/feb/22/wicked-little-letters-review-a-depressing-obvious-clunky-waste-of-a-stellar-cast) - **IndieWire**, Jourdain Searles: Thea Sharrock's film follows a real poison-pen story but doesn't have enough bite of its own, resulting in a strange true-life comedy that fails to fully capitalize on its premise and cast. [Read](https://www.indiewire.com/criticism/movies/wicked-little-letters-review-olivia-colman-jessie-buckley-1234905494/) - **The Hollywood Reporter**, Lovia Gyarkye: The critic finds the film a forced farce that takes a one-note farcical approach to the real-life scandal, swerving between comedy and tragedy without hitting its stride. Strong performances from Colman, Buckley, and Vasan are undermined by the strained tone and shallow feminist framing. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/wicked-little-letters-review-olivia-colman-jessie-buckley-1235591425/) - **The Times**, Kevin Maher (★★☆☆☆): The swearing provides brief amusement but the paper-thin characters and obvious plot offer little else, making the central gimmick unsustainable. [Read](https://www.thetimes.com/culture/film/article/wicked-little-letters-review-olivia-colman-jessie-buckley-g9q5rsh2x) - **Deadline**, Damon Wise (90/100, inferred): The critic calls it a fantastically funny feature and a runaway British comedy of the year. They single out the joy in the profane script and the performances of the mostly female cast, particularly Jessie Buckley and Olivia Colman. [Read](https://deadline.com/2023/09/wicked-little-letters-review-thea-sharrock-olivia-colman-jessie-buckley-1235542275/) - **Collider**, Aidan Kelley (7/10): A witty comedic mystery elevated by a spectacular cast led by Colman and Buckley and sharp dialogue, though the central mystery feels rushed, predictable, and underdeveloped. [Read](https://collider.com/wicked-little-letters-review/) - **The Playlist**, Ankit Jhunjhunwala (B-): Colman and Buckley deliver spirited performances in this diverting but slight trifle that is undemanding and breezy but too long for its minimal stakes. The film functions better as a whydunnit than a mystery and highlights the leads effectively. [Read](https://theplaylist.net/wicked-little-letters-review-olivia-colman-and-jessie-buckley-spar-in-diverting-little-triffle-tiff-20230917/) - **Digital Spy**, Mireia Mullor (65/100, inferred): The critic finds the film an enjoyable but uneven comedy that fails to fully deliver on its wild premise or focus amid too many themes. They single out the chemistry between Olivia Colman and Jessie Buckley and the satisfying use of authentic foul language for praise. [Read](https://www.digitalspy.com/movies/a46851662/wicked-little-letters-review/) - **Eye for Film**, Amber Wilkinson (55/100, inferred): The film offers a well-polished if tonally uneven and oddly cosy retelling of the real-life scandal, struggling with its farcical elements and heavy themes. Strong performances from Colman, Buckley and Vasan provide the main interest amid obvious plotting and mixed laughs. [Read](https://www.eyeforfilm.co.uk/review/wicked-little-letters-2023-film-review-by-amber-wilkinson) - **Paste**, Chloe Walker (5.5/10): A tepid and dated comedy that fails to capitalize on the strong chemistry between Colman and Buckley, relying too heavily on repetitive profanity while delivering flat direction and underdeveloped supporting characters. [Read](https://www.pastemagazine.com/movies/jessie-buckley/wicked-little-letters-review) - **Film Stories**, Maria Lattila: The film is an absolute hoot with simple pleasures from Colman and Buckley trading insults, though the narrative holds few surprises. It showcases internalised misogyny effectively but struggles with thinly drawn male characters and an under-addressed racial element. [Read](https://filmstories.co.uk/reviews/wicked-little-letters-review-jessie-buckley-and-olivia-colman-shine-in-this-sweary-drama/) ## Details - **Director:** Thea Sharrock - **Director:** Thea Sharrock - **Writer:** Jonny Sweet - **Cinematography:** Ben Davis - **Editor:** Melanie Oliver - **Music:** Isobel Waller-Bridge - **Production design:** Cristina Casali - **Costume design:** Charlotte Walter - **Producer:** Jo Wallett, Olivia Colman, Ed Sinclair - **Cast:** Olivia Colman as Edith Swan; Jessie Buckley as Rose Gooding; Anjana Vasan as Gladys Moss; Timothy Spall as Edward Swan; Gemma Jones as Victoria Swan; Malachi Kirby as Bill; Alisha Weir as Nancy Gooding; Joanna Scanlan as Ann - **Runtime:** 1h 40m - **Certificate (MPA):** R - **Release (the US):** 5 April 2024 - **Genres:** Comedy, Drama, Mystery - **Budget:** $13 million - **Box office:** $27 million - **Trailer:** https://www.youtube.com/watch?v=e-hpxv89I3c ## Where to watch in the US - Disney+: add-on, uhd - Amazon Prime Video: rent $3.99, uhd - Amazon Prime Video: buy $12.99, uhd *Checked 2026-09-10.* Also available in: AR, AT, AU, BE, BR, CA, CL, CO, ES, FI, FR, GB, IE, IN, IS, IT, MX, NL, NZ, PA, PL, SE, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Le Corbeau* (1943): Anonymous letters poison a French town, and nobody here is laughing. - *The Favourite* (2018), Fi1m 87: Colman swearing in period dress, with the cruelty the words are actually for. — [Fi1m page](https://film.one/film/the-favourite.md) - *The Ladykillers* (1955), Fi1m 86: A respectable old lady, a house of villains, and Ealing at its darkest. — [Fi1m page](https://film.one/film/the-ladykillers.md) - *Wild Rose* (2018), Fi1m 82: Buckley as a Glasgow singer whose mouth gets her into trouble and out of it. — [Fi1m page](https://film.one/film/wild-rose.md) - *The Lost Daughter* (2021), Fi1m 84: Colman and Buckley play one woman at two ages, and neither is comfortable. — [Fi1m page](https://film.one/film/the-lost-daughter.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. 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