Allow me to preface this review with the following statement: I am not a fan of the mystery or whodunit genre in films and literature. That is not to say I dislike such material, but rather that I am woefully unfamiliar with it. When people refer to movies like Clue or Agatha Christie’s work, I admit that I am out of my element. I am a stranger in a mostly foreign land. Know then that my judgment of Knives Out is perhaps uninformed; but, my hope is that I can take a look at this film with less bias and analyze it more precisely on its own terms.
Written and directed by Rian Johnson, Knives Out excels in every way and leaves one on the edge of his seat from beginning to end. Its tremendous cast, its quick and witty dialogue, and its gripping aesthetic make this one of the year’s best films.
Harlan Thrombey (Christopher Plummer)—novelist, tycoon, and patriarch—has just died after the celebration of his 85th birthday. His family and all other guests fall under the suspicion of the police, headed by Lt. Elliott (Lakeith Stanfeld) and Trooper Wagner (Noah Segan), most especially after notorious gentleman sleuth Benoit Blanc (Daniel Craig), under curious conditions, joins them. At the heart of this investigation is Mr. Thrombey’s nurse and confidant, Martha Cabrera (Ana de Armas). While the family sorts through their affairs post-mortem, a spider-web of mystery unfolds and it seems that anyone may be caught in its web.
Narratively, Knives Out is nothing short of superb. For brevity’s sake, I mention only two points. First, Rian Johnson makes it clear to the audience immediately that nearly every member of the family has both motivation and opportunity to have murdered Harlan. Then, he undercuts this at the end of the first act, and exposes the “culprit.” That is, we know before almost anyone else how Harlan really dies. Yet, Knives Out never lacks intrigue nor does it bore the viewer. This brings me to my second point. The cast of characters present themselves paradoxically. Each one of the Thrombey family is despicable (albeit to varying degrees). But, they are supremely entertaining. The sense of humor in Knives Out is top-notch, because all of them are despicable but have distinct personalities, and their being repugnant make them hilarious. The movie is meta, tight, and self-contained simultaneously.
As far as performances go, the movie does not have a bad one. Most notable is Craig’s work as the gentleman with a southern drawl and a mind for detail. Ana de Armas portrays a loveable and loving nurse with a heart of gold, in sentimental and sympathetic manner. Jamie Lee Curtis, who plays Harlan’s eldest Linda, delivers each time she is on screen. And finally, particularly impressive is Chris Evans as Ransom. For those who have not seen his work outside of Marvel Studios, they may not know. But he has some real range, especially with antagonism. And Evans demonstrates this through subtlety of both tone and facial expression. I especially find one exchange between Ranson and Martha at a cottage cafe quite compelling.
Aesthetically, Knives Out excites in a variety of unique and interesting ways. In its modesty, it is quite impressive. Everyone and everything in the film is beautiful and yet, neither large nor imposing. The lone exception to this is the clutter of Thrombey’s mansion. The suits are plain but sharp, the leads’ outfits are warm, comfortable and attractive, and the scenery is simply gorgeous. Furthermore, the music, orchestrated by Nathan Johnson, is acute and appropriate. I particularly like the piece of the score during the film’s lone chase scene, as it strikes me as quite facetious, but quietly so.
Attention to detail is arguably the greatest strength of Knives Out, and it attests to Johnson’s abilities both as a filmmaker and storyteller. Like a good novel, he presents us with a vision of the whole from the beginning and to the close reader, all the clues are present from the start. Furthermore, the little things add to the humor as well as the narrative of this work. Jokes that land during the opening sequence show up for an even bigger pay-off near the end. Political and social media satire abound both in the background and in the fore. For these reasons alone, his film is certainly worthy of at least a second viewing.
My favorite element of the movie has to be its message. I do not ordinarily like the term, but the message is a good one. The way to win the game is to have a kind heart. Blanc knows this, but in a fit of irony, he acts and speaks as if truth stands alone, untouched by moral concern. All the while he follows the lead of the movie’s most morally righteous person. Those who are kind and caring inevitably make their way to the truth. And in the end, beauty and dignity (most especially of the human person) trump the intellectual pursuits—or, if you prefer, the skills of the mind. It is a cheesy, albeit apt and welcome commentary in this landscape.
An entertaining, heartwarming, and hilarious motion picture, Knives Out stands out among the rest. The ensemble cast enlivens the experience, the New England countryside captures the soul, and the creator’s mind make this a fantastic revival of the whodunit genre. Its pace, charm, and witty repartee provide for a wonderful time at the movie theater. Rating: 10/10
P.S. The use of “Sweet Virginia” by the Rolling Stones during the film’s conclusion is just delightful.
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