Movie Review – Knives Out (2019) December 3, 2019 by George Nash. Facebook Twitter Flipboard Reddit Pinterest WhatsApp. Knives Out, 2019. Written and directed by Rian Johnson. “Knives Out” is both a loving tribute and a cheeky meta-take on this genre from writer/director Rian Johnson and an all-star cast clearly having the time of their lives. It is deliciously nasty, seasoned with some political jibes, a ton of fun and anything but cozy.
Harlan Thrombey (Christopher Plummer) is a wildly successful mystery writer and he’s dead. His housekeeper Fran (Edi Patterson) finds him with a slit throat and the knife still in his hand. New compact suv. It looks like suicide, but there are some questions. After all, who really slits their own throat? A couple of cops (the wonderful pair of LaKeith Stanfield and Noah Segan) come to the Thrombey estate do a small investigation, just to make sure they’re not missing anything, and the film opens with their conversations with each of the Thrombey family members. Daughter Linda (Jamie Lee Curtis) is a successful businesswoman with a shit husband named Richard (Don Johnson) and an awful son named Ransom (Chris Evans). Son Walt (Michael Shannon) runs the publishing side, but he’s been fighting a lot with dear old dad. Daughter-in-law Joni (Toni Collette) is deep into self-help but has been helping herself by ripping off the old man. Finally, there’s Marta Cabrera (Ana de Armas), the real heroine of “Knives Out” and Harlan’s most trusted confidante. Can she help solve the case?
The case may have just been closed if not for the arrival of the famous detective Benoit Blanc, played by Daniel Craig, who spins a southern drawl and oversized ego into something instantly memorable. Blanc was delivered a news story about the suicide and envelope of money. So someone thinks this is fishy. Why? And who? The question of who brought in Blanc drives the narrative as much as who killed Harlan. Johnson is constantly presenting viewers with the familiar, especially fans of the mystery movie—the single palatial setting, the family of monsters, the exaggerated detective—but then he subverts them every so slightly, and it feels fresh. So while Blanc feels like a Poirot riff, Johnson and Craig avoid turning it into a caricature of something we’ve seen before.
Knives Out has the whodunnit? Field all to itself in 2019. In fact, the only other filmmaker of note doing these movies, Kenneth Branagh, is between Poirot titles. (Murder on the Orient Express was last year’s release and Death on the Nile won’t arrive until 2020.) However, even in a crowd of similar titles, this movie would stand out. Great setups and payoffs are the most important part of this genre, and 'Knives Out' is chock full of them. Production-wise, the film is gorgeous and well-made. The New England countryside provides charming and natural visuals that fit the film's Victorian style and narrative, and the violin-led score is sharp and effective.
Review Of Knives Out Movie
“Knives Out” comes out the day before Thanksgiving and previews the arguments that will be happening at dinner tables all over America. For de Armas, who has been around for a decade, this movie is a breakout, and for Daniel Craig, who is quite funny as the detective, “Knives Out” shows there will be lots of life after James Bond.
Review For Knives Out Movie
Craig is delightful—I love the excitement in his voice when he figures things out late in the film—but some of the cast gets lost. It’s inevitable with one this big, but if you’re going to “Knives Out” for a specific actor or actress, be aware that it’s a large ensemble piece and your fave may get short shrift. Unless your favorite is Ana de Armas, who is really the heart of the movie, allowing Johnson to imbue “Knives Out” with some wonderful political commentary. The Thrombeys claim to love Marta, even if they can’t remember which South American country she comes from, and Don Johnson gets a few razor sharp scenes as the kind of guy who rants about immigration before quoting “Hamilton.” It’s not embedded in the entire piece as much as “Get Out,” but this “Out” is similar in the way it uses genre structure to say something about wealth and social inequality. And in terms of performance, the often-promising de Armas has never been handed a role this big, and she totally delivers.