Gumshoe comes from director Stephen Frears and a screenplay by Neville Smith. The cast includes Albert Finney, Billie Whitelaw, Frank Finlay, Fulton Mackay, Janice Rule, Carolyn Seymour, and George Innes. Andrew Lloyd Webber handled the music, while Chris Menges was responsible for the cinematography. There's a line—"William, you’d sell cancer to a dying man but you wouldn't plant a stiff on your own brother"—that feels representative of the film's spirit. Judging by online reviews and ratings, it seems Gumshoe hasn’t gotten nearly as much attention as it deserves. Maybe that’s true in Britain or among people who already like Albert Finney's work, but there's a clear indication that many fans of the genre have missed out on this one. Some have described it as a pastiche, a parody, and even derivative of film noir. But just because the protagonist—a wonderfully portrayed working-class British guy with a love for film noir, played by Finney—uses familiar techniques from that style, doesn't lessen its appeal. It’s worth noting that director Frears would later direct The Grifters, widely considered one of the best neo-noir films in 19 years, so it’s obvious he has a deep appreciation for the genre. Eddie Ginley is a part-time comic and bingo caller currently struggling through life. His psychiatrist even considers him to be eccentric! So when he places an advertisement in the newspaper offering his services as a "Gumshoe Detective"—in the style of Sam Spade—he finds himself caught up in a web of mystery, murder, and family problems. Despite the escalating difficulties, Ginley maintains his easygoing nature, playing out his fantasy with quick-witted remarks to everyone he meets. No matter what challenges arise, he remains unfazed and proves that he’s far from being an eccentric when confronted with the serious issues that begin to pile up. Frears sets the story in a believable working-class British city, primarily Liverpool but also featuring London. The action unfolds around social clubs, British Rail stations, and modest homes, which gives the film a sense of realism. Even though there’s an element of comedy throughout the narrative, it's easy to feel the genuine threat of danger wherever Eddie goes. The plot does get somewhat tangled with its own complexity, incorporating elements like femme fatales, hitmen, minders, drugs, and an international conspiracy. But as Eddie engages in verbal sparring—the boxing-themed flirtation scene with Wendy Richard is particularly well done—and the script delivers sharp dialogue and narration, those minor flaws become insignificant because you’ve already grown to enjoy Eddie Ginley. It earns a solid 8/10.

Source on TMDB