KNIVES OUT: A Fun, Lovingly Crafted 21st Century Homage to Classic Murder Mysteries

Genre: Comedy, Crime, Drama

Produced by: Rian Johnson, Ram Bergman  

Directed by: Rian Johnson    

Written by: Rian Johnson   

Production Company: Lionsgate

Starring: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Noah Segan, Frank Oz, Christopher Plummer

Runtime: 130 minutes                                                                                            

SYNOPSIS: 

Wealthy crime novelist Harlan Thrombey (Christopher Plummer) is found dead on his 85^th birthday and Detective Benoit Blanc (Daniel Craig) is summoned to the deceased’s estate to investigate. As all of Harlan’s family members and staffs gather to pay their last respects while undergoing rigorous police questioning, Blanc comes to the conclusion that there might be foul play involved, and everyone is a suspect. The closer he gets to the truth, the more he entangles himself in a complicated game of family drama and deception. 

REVIEW: 

Known primarily as an indie hotshot, Rian Johnson is the lone exception of a filmmaker who manages to climb up the Hollywood ladder by marching to his own beats. It’s an astonishing rags-to-riches story considering Johnson’s widely renowned reputation as a genre deconstructionist, which contrasts heavily with a film industry defined by playing things safe. His feature-length debut Brick (2006) was anything but safe. A high school take on the detective noir genre, the film was held in high regards by critics and cinephiles alike for its groundbreaking spin on not only the detective noir genre, but also the high school story. His experimental filmmaking doesn’t just stop there as he dips his toes into several different genres, whether it’s a caper picture with the Brothers Bloom (2009), a sci-fi time travel thriller with Looper (2012) or the next installment in a giant franchise with Star Wars: the Last Jedi (2017). Whichever way, he always leaves a lasting impression to his audience, even if it is sometimes controversial. The Last Jedi notoriously polarized the Star Wars fan base, and for the past two years, he’s been forced to shoulder most of the blame, ranging from a Twitter account dedicated to reminding him how he “ruined” Star Wars to even death threats.  

Following the toxic reaction to his stint directing a big-budget blockbuster, Johnson decides to go back into making original content with Knives Out, a mid-budget feature and passion project he’s been developing for over a decade and is now up and running thanks to Lionsgate’s funding. It’s certainly a smaller production if compared to the monstrous heights of Star Wars, but the all-star cast he assembles for his latest directorial effort cannot help but grab more or less the same level of attention. After all, it’s really difficult to keep a film classified when it’s got big names such as the current 007’s Daniel Craig and the currently former Captain America’s Chris Evans, just to name a few, attached to it, regardless of it not being based on any existing intellectual property. 

Knives Out is Johnson’s highly audacious, note-perfect old-meets-new school riff on the Agatha Christie-esque single location murder mystery whodunit and, a surprise to many filmgoers, a solid starting point for what could be another potential moneymaking franchise. Taken simply on its own merit as a standalone film though, it is still a wickedly delightful genre piece capable of bringing together tried-and-tested tropes and timely irreverence into a satisfying whole. Here is a one-of-a-kind type mainstream release so thoroughly shaped by an auteur filmmaker who has a clear vision and full control of his craft. 

Cleverly-constructed and well-written, Knives Out finds Johnson firmly within his genre deconstructionist wheelhouse in a simultaneous embrace of and challenge to the whodunit conventions that’s as ambitiously thought-out as it is executed. The film is altogether an impressive tonal balancing act that gives equal acknowledgement to the humor, tension and maybe, in some cases, tragedy of the situation at hand. 

In more ways than one, Knives Out is a long breath of fresh air over today’s special effects-driven cinematic offerings: a predominantly low-action, dialogue-heavy farce reminiscent of Quentin Tarantino or the Coen Brothers’ repertoire, which could have been a tough sell and yet, Johnson has packaged his work in such an accessible manner it all feels like a seamless marriage of a thinking man’s thriller and a popcorn-chomping crowd-pleaser, the exact kind of genre films major studios don’t make all too often these days. It’s a welcome reminder that, when given the creative freedom, there is room to be smart and entertaining, for a good story and fully-realized characters amongst the contemporary blockbuster landscape. 

Knives Out’s strength is, without a doubt, Johnson’s fittingly sharp as knife screenplay, which paints an otherwise familiar murder mystery whodunit plot in a new, unusual light. During the traditional interrogation sequences for instance, told mostly through elaborate flashbacks, he sets up his mystery box by giving the genre’s generally unreliable potential suspects and witnesses-type characters pretty reliable alibi and motives. It’s a refreshing subversion of these murder mystery archetypes, since they’re so plain-spoken to the point of bluntness. It’s a film that reveals quite a lot of its key information and clues very early on for a murder mystery of this ilk, and somehow, not only does it remain an engaging little puzzle to crack, but also somehow makes it even harder to outguess. 

Speaking of those murder mystery archetypes, Knives Out goes much deeper and at times nastier for their characterization, holding a mirror up to modern-day society with such a scathing, satirical edge which recalls the horror-black comedy Ready or Not (2019). The comically vicious way this film’s murder mystery archetypes, the majority of whom are the Thrombey family members, go about treating fellow human beings bear a striking resemblance to the Le Domas family in the sense that they represent a colorful, heightened yet somewhat true portrait of those filthy rich, privileged one-percenter families who are distant from everything and each other. They’re just the kind of people who cannot spend a day in a room together without breaking into an argument, cut contact only to reconnect when it involves family fortunes or, even worse, have trouble remembering the nationality of those who have been working for them for many years, and Johnson takes relentless glee at skewering their dysfunctional relationship, perceived gross ignorance and inherently materialistic instincts. 

Then there is of course something about the idea of having a murder mystery whodunit novelist’s death at the center of a murder mystery whodunit that lends itself so perfectly to a meta-commentary on its formula. Knives Out is winkingly self-aware of its influences’ trappings, and Johnson uses his trademark in-depth knowledge of the genre to assemble a plot so labyrinthine and bonkers only someone who has read a lot of whodunit novels like himself or, in this film’s universe, a seasoned crime novelist like Harlan Thrombey can come up with. It is a bizarre case of art imitating life imitating art, where the difference between reality and fiction continues to blur as things begin to unravel. Through such lens, Harlan’s role as the murder mystery victim character transcends his strictly plot device purpose as he feels just as ever present as the detectives and the suspects still alive, well and trapped inside the mansion, toying with his spectators’ expectations of where a story of this manner usually goes, leading them astray or to the right path whenever he wants them to, as if they themselves are characters he created for a murder mystery novel that he’s writing from deep beneath his grave. 

But perhaps the film’s, and one might go as far as say the genre’s, greatest creative leap of faith rests on its unconventional choice for a lead character. Knives Out is the rare murder mystery that boldly devotes nearly every bit of its attention to the day-to-day personal life of a potential murder suspect/Harlan’s personal nurse Marta Cabrera (Ana de Armas) instead of the day-to-day investigation of its standard-issue murder mystery detective Benoit Blanc, and for once, it actually makes sense. Thematically, the story plays out more like an intimate exposé on these murder mystery archetypes’ deepest, darkest secrets than the normal who killed who situation, and having someone on the inside who knows her fellow archetypes well like Marta as the audience surrogate helps give the film the kind of human dimension that otherwise an outsider like a detective cannot provide. 

Marta is properly fleshed-out too, so complex and real one could feel the internal struggle and occasional guilt she’s going through during the entire investigation period, not only as a lead character but also as a murder mystery character in general. Set up early on as an unlikely suspect almost everyone, even Blanc himself, would rule out without having to think twice, performing a more or less similar function to the butler archetype prevalent in Christie’s novels, Marta serves as the film’s ingenious inversion on that particular archetype, an often thankless, underwritten role tossed aside in a story as nothing more than a tacked-on addition or an unearned butler-did-it twist which Johnson has updated into a root-worthy role model in the murder mystery canon, probably the first ever for a non-detective character. 

A good portion of the film’s tremendously enjoyable midsection then revolves around Marta’s interaction with the other murder mystery archetypes, whether it’s the suspecting detective (Blanc) or her fellow potential suspects (in the Thrombey family’s case, her employer). For awhile, Knives Out treads into the well-trodden, goofy Sherlock Holmes territory in unexpectedly inspired fashion, more so than the recent, dreadfully unfunny undertaking Holmes & Watson (2018), just when Blanc convinces Marta to be basically his female version of Watson. But what sets this Holmes-Watson dynamic apart is its psychological cat-and-mouse twist, with the two spending the second act out-manipulating each other, Blanc by manipulating Marta’s inability to tell a lie without throwing up and Marta by manipulating Blanc with her insane photographic memory which somehow keeps her within arms’ length with the detective or sometimes one step ahead. 

Holmes and Watson connection aside, Marta does have a few slice-of-life moments with a handful of the Thrombey family members that are in every sense of the word bittersweet and affecting, particularly her relationship with Harlan. There’s a lengthy scene between her and Harlan involving medical supplies that simply pushes all the sentimental buttons conceivable to get wrapped up in the emotions with as it lurches from occasional laughter, thrills to poignancy with impeccable timing. From this one scene alone, Johnson suggests that the two shares a cordial patient-nurse relationship, which spells problem with financial matters at stake. Knives Out adds a unique, thought-provoking layer to the murder mystery genre’s general class warfare theme with its immigrant angle, as the truth about the nature of their relationship reinforces the family’s anti-immigrant tendency towards the Latino Marta, even the reluctant one like Meg (Katherine Langford), who has been the only person in the Thrombey clan to treat Marta nicely. 

Like every murder mystery story, all those little fragmented puzzle pieces the film has been assembling steadily over the course of its first two acts then contribute beautifully to the bigger picture and down to the very end, Johnson does have a few inventive twists up his sleeve that remains effective in pulling the rug out from underneath its audience, even those who might consider themselves murder mystery aficionados. Furthermore, no spoilers, Knives Out’s third act demonstrates Johnson’s renowned keen eye for dialogue at its best, particularly a scene where a character suddenly goes into a rambling, oddly hilarious monologue about donut holes and how that somewhat ties into its central murder mystery plot and safe to say, the writing here is a stroke of poetic genius. And this film also has a final shot that just drips with sheer badassery. 

Let’s not forget though the technical aspects of Knives Out, which is as praiseworthy and even award-worthy as its story construction. It’s a film filled with lusciously forbidding imagery that evoke just the right mood and atmosphere of a classic murder mystery whodunit, best exemplified by its first establishing shot of the Thrombey family mansion towering high above the ethereal fog and autumn leaves like it’s some kind of a Transylvanian haunted house. Credit must be given where it’s due to the largely unsung heroes behind the camera, consisting mostly of Johnson’s frequent collaborators who know exactly what he wants. 

After making way for John Williams in the Last Jedi, his cousin Nathan Johnson responds with a playful orchestral score that captures the film’s underlying sense of intrigue and suspense. David Crank might have been a newbie in Rian Johnson’s ranks, but his production design work for the mansion is jaw-dropping in its painstaking detail and scale, down to the most inventive knife display ever shown in cinema’s history. Every corner of it seems like they have a life of its own.  Johnson’s go-to cinematographer Steve Yedlin makes terrific use of natural lighting and candlelight glow to recreate a distinctive look as grand and old-fashioned as the cover art of Agatha Christie’s paperbacks. Costume designer Jenny Eagan dresses her dashing stars with fashionable clothes, especially Ransom Thrombey (Chris Evans) with the sweaters. 

Besides the storytelling and technical achievement, Knives Out’s page to screen translation feels more complete thanks to the terrific ensemble cast who give it their all no matter how big or small their roles are. And some of them are either tailor-made for the actors or, in certain cases, polar opposite to their real-life personality, but eventually, they prove themselves capable of being a reliable performer as well as versatile. 

Generally known as a serious, dramatic actor, especially with his dark, gritty take on James Bond, Daniel Craig in this film is pretty much the total antithesis with a capital-T, finding the funny bone with a different kind of heroic figure: the smart, eccentric, Hercule Poirot-type murder mystery detective Benoit Blanc. Craig is delightfully showy, so over-the-top and larger-than-life that he truly gives the age-old term scenery-chewing performance a new name. In combining quirky antics with a ridiculously thick southern accent, the latter being like music to the ears, Blanc further stands out as possibly his next best, most iconic and franchise-worthy character in years. 

Ana de Armas is undoubtedly the genuine breakout star, holding her own quite strongly against Hollywood acting greats such as Craig and Christopher Plummer in a grounded, subtle, and just outright remarkable portrayal of Harlan’s personal nurse Marta Cabrera. Even though theoretically she plays just another murder mystery suspect, De Armas ends up carrying much of the film on her shoulders like she is the leading lady, showing her range as she exudes all the believable, innocent and intelligent quality required to breathe life into a young, spunky everywoman heroine who needs to claw her way out of a mess she gets unfortunately thrown into. 

Still, don’t let Craig and de Armas’ extended screentime distract from the fact that there are supporting players in Knives Out who make the most with their fifteen minutes of fame. 

Chris Evans clearly relishes the opportunity to flex his quasi-villain muscle and, judging by the onscreen result, he pulls off the role with aplomb. Evans’ love-to-hate, hate-to-love turn as the spoiled playboy Ransom Drysdale is as far removed his goody-two shoe Captain America image as he can go, but he retains more or less the same magnetic charm to make it a joy to watch. 

In his typical character actor fashion, Michael Shannon turns in another workmanlike performance, conveying the beat of a son trying his best, sometimes way too hard to please his father as Harlan’s youngest Walt Thrombey with effortless conviction. Jamie Lee Curtis exudes solid authority as Harlan’s eldest daughter Linda Drysdale and Toni Collette channels her inner Gwyneth Paltrow in her Goop days pleasantly as the pompous “lifestyle guru” Joni Thrombey. Christopher Plummer commands the screen as the murder mystery victim Harlan Thrombey. For obvious reasons, Plummer’s appearance is sporadic, but every second of it is memorable. He is humorous and heartbreaking all at once, especially the one scene he shares with de Armas. 

Lakeith Stanfield does a fine job portraying Lieutenant Elliott, a run-on-the-mill detective who has to spend a bulk of his screentime holding a straight face and be occasionally annoyed at Blanc’s unconventional investigative method. Johnson’s long-time muse Noah Segan is always the cherry on top in his films, and the same can be said here. Segan accompanies Stanfield and Craig throughout in an otherwise minor role of fellow detective/Harlan’s fanboy Trooper Wagner. In true fanboy spirit, he plays it with unbridled fanboyish excitement. Legendary actor/director Frank Oz is a blast of a glorified cameo in the very little screentime that he is in as the Thrombey family lawyer Alan Stevens. 

CONCLUSION: 

Knives Out packs plenty of cerebral thrills, subversive laughs, unexpected twists and turns and even razor-sharp social commentary into a fun, lovingly crafted 21st century homage to classic murder mysteries that brings out the best in its extremely talented ensemble.

Score: 10/10