Knives Out Review

As the days of 2019 dwindle down to a precious few, we’re unlikely to see the year produce a more richly entertaining film than the splendid comic whodunit “Knives Out” (Lionsgate).

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Though writer-director Rian Johnson’s ensemble homage to Agatha Christie — and the big-screen adaptations of her work — is strictly for grown-ups, it provides a brainy and satisfying movie.

The case at hand concerns the death, in the wake of a family party on the night of his 85th birthday, of famous and wealthy crime novelist Harlan Thrombey (Christopher Plummer).

Knives Out Review: Rian Johnson's Whodunnit Is A Masterful Thrill Ride. Knives Out leads viewers on a thrilling and wickedly fun ride as the entire ensemble offers breathtaking performances in this whodunnit mystery.
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Knives Out review – a deliciously entertaining whodunnit ‘Everything is set up and sneakily signalled in the opening moments’: Jamie Lee Curtis, Christopher Plummer, Don Johnson and Michael Shannon.

The police officers assigned to investigate, Lt. Elliott (LaKeith Stanfield) and Trooper Wagner (Noah Segan), insist Harlan killed himself. But shrewd Southern detective Benoit Blanc (Daniel Craig), who has been hired by an anonymous client, has other ideas.

Benoit, whose Francophone — presumably Cajun — background is a tip of the hat to Christie’s famous Belgian sleuth Hercule Poirot, seeks answers among the eccentric members of Harlan’s conflict-ridden clan. And, unsurprisingly, it turns out that virtually every one of them (played, among others, by Chris Evans, Jamie Lee Curtis, Michael Shannon, Don Johnson and Toni Collette) had a reason for wanting the old man dead.

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As he tries to navigate his way through this morass of competing motives, Benoit enlist the help of Harlan’s caring and sensible Latina nurse, Marta (Ana de Armas). Marta makes an excellent witness and guide to events because she has an unusual medical condition: she cannot tell a lie without getting sick to her stomach. Yet even Marta’s role in the mystery is not what it initially appears.

Clever twists and turns, worthy of Christie herself, abundant humor and sly social commentary make Johnson’s movie a dandy treat. There is a hard edge to the proceedings, though, since so many of the figures on screen are grasping, entitled, selfish and perpetually quarrelsome.

Those qualities are, of course, being satirized. Yet at least some viewers may not care for the company of such ethically impoverished characters. There is also at least one important aspect of the story requiring mature discernment — another good reason, along with thematic and vocabulary considerations, to steer kids elsewhere.

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Still, in the end, good triumphs over evil and Johnson handles this final development just as deftly as he treats the rest of his material. As a result, there’s a particular relish to the wrap-up. Call it the sweetly moral cherry atop the flavorful cinematic sundae that is “Knives Out.”

The film contains brief gory violence, a morally complex situation, drug use, sexual references, about a dozen profanities, a few milder oaths, a couple of rough terms, frequent crude and crass language and an obscene gesture. The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.

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— John Mulderig

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Knives Out had me with the directness of its setup: a fancy manse; a rich, dysfunctional family; and a shocking murder in need of a solution. In walks Detective Benoit Blanc (played by Daniel Craig), a master crime-solver with a résumé as thick as his southern accent. “I suspect foul play … I have eliminated no suspects,” he intones when asked why he’s there. The writer and director Rian Johnson, who assembled this project quickly after spending years in the franchise-filmmaking trenches with The Last Jedi, initially seems to be seeking out simplicity—a traditional drawing-room whodunit right out of Agatha Christie’s library. But the fun really begins when Knives Out starts flouting its genre’s rules.

That inventiveness shouldn’t be too surprising given Johnson’s career. Starting in 2005 with his breakout debut, Brick, a teenage noir homage, he’s been a filmmaker who draws from the classics but gives them sparkly new packages. Even The Last Jedi challenged the storytelling conventions of the long-winded Star Wars saga with humor and pique, rather than just reaffirming them (and stunned many a fan as a result). While Knives Out is a more straightforward proposition, a murder mystery that ties up every loose end, many of its best thrills come in the narrative hairpin turns Johnson makes along the way.

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Detective Blanc is ostensibly the film’s hero and serves as the audience’s surrogate, interrogating family members and sniffing around for clues. But Marta is the heart of the movie—a character who might easily be dismissed as a stock supporting role, but whom Johnson plants in the foreground. There’s no subtlety to Johnson’s message: The film champions a hardworking daughter of immigrants in a film about upper-class snobs scrambling to secure their inherited wealth. This is 2019, and one of the villains is a pale teen boy who posts offensive invective on Twitter.

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But the detective genre has never been subtle. It’s a world where the investigator is intelligence personified and the suspects (as well as the viewers) are his captive audience, waiting for the answers to be revealed after two hours of careful deduction. Through Marta and Detective Blanc, who become impromptu partners in search of the truth, Johnson is telling a story about what justice might look like in America today—while also having plenty of fun.

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The film’s advertising has obscured almost every detail of the plot besides the absolute basics, a difficult achievement today. So I’ll say only that while Knives Out is a whodunit with a twist ending, it’s just as concerned with why and how the murder was done as it is with the killer’s identity; the seemingly huge pieces of information dropped early on turn out to be small pieces of the puzzle. The art of a cinematic murder mystery is to make the act of putting clues together seem suspenseful and worth watching. In the hands of Craig at his most gleeful, de Armas at her career best, and Johnson oozing love for the genre, Knives Out rises splendidly to the task.

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