Name: Knives Out
Genre: Comedy, Crime, Mystery
Released: 2019-11-27T00:00:00+00:00
Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon

The blood-red slit across Harlan Thrombey’s throat sets the stage for Rian Johnson’s Knives Out, a murder mystery that revels in its twists and turns like a gourmet meal served with a side of dark humor. The film, written and directed by Johnson, is a love letter to classic whodunits, updated for contemporary audiences with a keen eye on social issues. It’s a film that demands attention, rewarding viewers with laughs, gasps, and a genuine sense of wonder.

At the heart of Knives Out is Daniel Craig‘s Benoit Blanc, a detective with a drawl and a penchant for probing. Craig sheds his James Bond persona entirely, delivering a performance that’s equal parts charming and enigmatic. His Southern accent is flawless, adding a layer of authenticity to his character. Blanc is no ordinary detective; he’s a man who sees through the facades people put up, and Craig brings a sense of quiet intensity to the role. Whether he’s interrogating a suspect or pondering a clue, Blanc is always engaging, his presence anchoring the film.

Ana de Armas‘ Marta Cabrera is the film’s moral compass, a nurse who finds herself at the center of the mystery. De Armas, in her breakout role, brings warmth and depth to Marta, making her one of the most compelling characters in the ensemble. Her performance is nuanced, balancing vulnerability and strength with ease. The chemistry between Craig and de Armas is palpable, their scenes together infused with a sense of camaraderie that elevates the film.

Johnson’s script is a labyrinth of red herrings and revelations, each scene meticulously constructed to misdirect and engage. The first act’s twist—revealing Harlan’s death as a suicide—should undercut suspense, but Johnson uses it to pivot into a deeper exploration of family dynamics and class warfare. The Thrombey estate, with its labyrinthine halls and hidden passages, becomes a character unto itself, reflecting the family’s secrets and strife.

The film’s strength lies in its ensemble cast. Chris Evans, as Harlan’s entitled grandson Ransom, chews scenery with gusto, embodying the worst of entitled youth. His performance is a masterclass in smarmy charisma, making Ransom both loathsome and fascinating. Jamie Lee Curtis and Michael Shannon bring nuance to their roles as Harlan’s ex-wife and son-in-law, respectively. Curtis, in particular, shines as Linda Drysdale, her performance oscillating between grief and guilt with subtle precision.

Yet, not all performances hit the mark. Don Johnson’s Richard Drysdale feels underutilized, his arc sacrificed for the sake of the central mystery. LaKeith Stanfield, as Lieutenant Elliott, is relegated to the sidelines, his potential wasted in a role that could have been more fleshed out.

Johnson’s direction is sharp, his framing precise. He uses the Thrombey estate to its fullest advantage, each room a character study in itself. The film’s pacing is brisk, never lingering too long on any one scene. Nathan Johnson’s score—with its playful nods to classic mystery tropes—elevates each scene, adding a layer of sophistication to the proceedings.

However, Knives Out isn’t without its falters. The pacing stumbles in the second act, bogged down by exposition and convoluted plotting. Some characters, like Toni Collette’s Joni Thrombey, feel one-dimensional, their motivations reduced to mere plot devices. And while the film’s exploration of class and immigration is commendable, it occasionally feels tacked on, more thematic than organic.

Knives Out is a film that wears its influences on its sleeve, from Agatha Christie to Alfred Hitchcock. It’s a homage to the classic whodunit, updated for modern audiences with a keen eye on social issues. The film explores themes of class warfare, wealth inequality, immigration, and race in contemporary American society. It’s a film that asks questions about privilege and entitlement, using the murder mystery genre as a vehicle for social commentary.

The film is a feast for the eyes, its production design meticulous and detailed. The Thrombey estate is a character unto itself, its opulence a stark contrast to the moral decay of its inhabitants. The cinematography is equally impressive, with Johnson using light and shadow to create a sense of unease and tension.

Knives Out is a film that will appeal to fans of classic murder mysteries, as well as those who enjoy a good whodunit with a side of social commentary. It’s a film that demands attention, rewarding viewers with laughs, gasps, and a genuine sense of wonder.