Knives Out is exactly the sort of sly, entertaining whodunit you hoped it would be
fans who felt Johnson had violated their precious thing. That must have been exhausting and frustrating for a filmmaker so possessed of individual interests., in which Johnson can return to his oldsensibilities and play around in a terrarium entirely of his own invention. The film rolls and bounces with giddy elation, Johnson and his troupe of actors clearly enjoying themselves as they entertain.: a throwback movie spun in an engagingly contemporary vernacular.
The film concerns an old manor house owned by a rich family and the sudden death of its patriarch. Was it a suicide? Or is something more foul afoot? That’s the game the film sort of does and sort of doesn’t pursue. Johnson tweaks the usual structure of drawing room murder mysteries to deliver something a bit hipper and more subversive. The gambit works quite well, andHelping sell all this madcappery is Johnson’s assembled company of actors.
Christopher Plummer, Michael Shannon, Jamie Lee Curtis, Don Johnson, Toni Colette, Lakeith Stanfield, Chris Evans, all pepper the movie, doing wry comedy without any self-conscious mugging. Each seems invigorated by Johnson’s curlicue—and sometimes rather beautiful—writing, the way he winds his way to the punch of a sentence. They all thrill to the material.who dons a thick Southern Gentleman accent to play a crack private investigator who’s been brought into the proceedings for shadowy reasons.
De Armas’s character is also the locus around which the movie’s politics swirl. It’s 2019 and Johnson is an online guy, so I suppose it’s not terribly surprising thathas, well, its knives out for some of the discourse of the day. Johnson’s swats at Trumpism are direct and maybe sometimes a little too on-the-nose. Still, there is something undeniably exciting about seeing a polished piece of studio-ish entertainment like this be cognizant of the world it exists in.
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