“Knives Out” is a romp. A whodunnit. A bold-faced homage to the murder mystery genre. And, with an unrecognizable Daniel Craig at the helm, becomes one of the cleverest films of the year. The film, directed and written by Rian Johnson, is a director’s movie, a writer’s movie, and succeeds with a tight script, pleasing cinematography, and complementary acting. It’s a film that takes the ensemble cast picture, deconstructs it, and turns it into a pleasing nod to itself as an exercise in thoughtful filmmaking. And, underneath it all, “Knives Out” is hysterically entertaining. A solid effort through-and-through.
The plot is simple, yet complex and overlapping. A pair of detectives (LaKeith Stanfield, Noah Segan) and an inquisitive private eye (Daniel Craig) are sent to the palatial estate of the Thrombey clan to investigate the apparent suicide of its patriarch, Harlan Thrombey (Christopher Plummer). He has slit his throat, and was found dead by his housekeeper (Edi Patterson). Of course the audience, and doubtless the detectives, suspect something deeper is afoot and begin investigations into the matter. Starting by interviewing the family one-on-one, we are introduced to a world of riches and affluence, but one lined with family dysfunction, deceit, and unscrupulous morals that make any and all a prime suspect.
Added to the mix is Marta (Ana de Armas), a South American immigrant whom the family loves but can never quite remember what country she comes from. She was Harlan’s nurse, and is considered family. She becomes, along with Craig, an entry point into these people’s lives, a narrator that shows a pathology seething inches below the surface.
What works about “Knives Out” is the clear effort Johnson poured into the script, and the film’s stellar casting. We have a widely eclectic cast, filled with such talent as Chris Evans, Michael Shannon, Don Johnson, Jamie Lee Curtis, and Toni Collette. A pair of grandchildren (Katherine Langford, Jaeden Martell) round out the cast; but, keep in mind, there are no show stealers here, but simply actors adding to the movie in unique ways. Lee Curtis’ Linda is a self-made woman who revered her late father and protects other members of the family…Shannon’s Walt is a daddy’s boy who has been ensconced by his father’s success and never made it out on his own…Johnson’s Richard is conniving and sarcastic, and makes no apologies for it…and Collette’s Joni is whimsical and duplicitous. This opening montage, which takes up nearly 20 minutes of screen time, cements these characters: their lifestyles, their beliefs, and the dysfunction that haunts them, just waiting to explode (and, believe me, explode it does).
“Knives Out” is a crime drama and escapist piece whose inherent charm lies in the way it grabs you and holds you as it unravels one plot twist after another. But, in superb filmmaking, Johnson unravels his plot slowly, carefully, and thoughtfully, focusing in equal measure on the mystery itself as well as the family dynamics it brings to the surface. Early on, we think we know the whole story – but of course red herrings, bait switches, and false leads take us in places we didn’t think it could go. Early on, an infuriated grandson, Ransom Drysdale (Chris Evans) storms out of a family party the night of Harlan’s death after giving the man a warning, so we assume foul play. But we are then shown rather acutely who is to blame for Harlan’s death, with no attempt at subtext, placing the blame on someone else while hinting at the possible involvement of person a, b, c, etc.
Ana de Armas and Daniel Craig in a scene from “Knives Out” (Lionsgate, 2019).
Johnson layers his film with idiosyncrasies and nuances, such as an aged grandmother (K Callan) who sees all yet does not talk, detective Benoit Blanc (Craig) that was hired anonymously and suspects something much deeper is going on, and, of course Harlan’s nurse, the kind-hearted Marta who is such a good person she cannot even tell a lie or else she will vomit (the latter works its way into the film so cleverly, and with such a zinger of a pièce de résistance finalé, one wonders how director Johnson so effortlessly turned such a gag of a set piece into dramatic gold).
I’ve been a fan of Craig’s for some time, first seeing him in the indie “Flashbacks of a Fool,” but here he outdoes himself. This is one of his most interesting roles to date, and certainly one of his highest acting challenges. Gone is the debonair persona and fashion of James Bond, and gone, also, is his elegant English accent, replaced by what one character snarks is a “Kentucky-fried Foghorn Leghorn drawl.” Craig’s Benoit Blanc is an enigma, a man who inserts his character with humor and keen observation, becoming at first a purveyor to shine a light on a mysterious family, and later the film’s de facto hero who works to unravel the puzzle.
Alongside him, de Armas is wonderful, imbuing young Marta with a naive innocence and kind heart, and the film’s greatest compliment is it makes her a strong female character who, ironically, becomes so strong by being so utterly good. Watch as de Armas plays off Craig, the latter grilling her inquisitively, the former bowing to pressure; but watch, also, as their dance becomes something more as Johnson presents events that keep us guessing, even when we think we have it all figured out.
“Knives Out” has some further jewels, most notably its commentary on our current political climate (one scene as the uber-privileged family debates illegal immigration – even going so far to involve Marta in the conversation – is especially poignant), as well as its third act, which presents a non-stop barrage of guessing games and plot twists. The third act is almost solely carried by Craig, de Armas, and, surprisingly, Evans, who shows once again what a terrific actor he can be when he finds material he can sink his teeth into. The climax of the film ramps up our nerves to the nth degree, helped by terrific acting by all involved, clever cinematography, and a bizarre yet perfectly succinct ending.
The bottom line: “Knives Out” is just great entertainment. It’s familiar but different, and comes out of left field to present an experience I wasn’t expecting at all. It involves the audience directly in its proceedings, makes smart commentary along the way, and wraps it up with a tight, realistic finish complete with a wonderfully pensive closing shot. Do yourself a favor and catch this if you can – you won’t be disappointed.
