Release date: 27 November 2019
Run time: 130 minutes
Certificate: 12A
Fresh from an underrated and divisive deluge into the Star Wars galaxy with The Last Jedi (2017), Rian Johnson turns his attention to something smaller in scale but no less extravagant. The end product is one of the freshest and funniest films of the year (and one much less controversial than said space opera). From the first shot of Harlan Thrombey’s mansion and as Nathan Johnson’s booming string score dives in, Knives Out (2019) grabs your attention and establishes what will play out over the next two hours – an intricate, unashamedly stereotypical modern whodunnit.
Wealthy crime author Harlan Thrombey (a wonderfully playful Christopher Plummer) celebrates his 85th birthday at his Massachusetts mansion, surrounded by a select group of friends and family. The next morning he is found dead by the housekeeper, his throat slit. The cause of death? Suicide. Plain and simple. Or not, as the police return to complete a second round of questions. There are motives as far as the eye can see, for almost all of the family members, and these are carefully unravelled in an entertaining and comprehensible way, a tribute to Johnson’s direction but also his screenplay. As suspicions mount and the plot progresses, we are treated to solid character development for most (sadly Riki Lindhome’s character is underserved and barely has a word). Generally though, we come to see them in all their flaws. There really are very few strengths to these wealthy, spoilt people.
The cast list creaks with big names and all of the actors deliver unique performances. Standing out in a strong field are Toni Collette as Joni Thrombey, Harlan’s daughter-in-law and pretentious spiritual lifestyle guru, and Michael Shannon as Walt Thrombey, the youngest son and someone severely lacking in backbone despite his best efforts. Ana de Armas is also impressive as the central character, Marta Cabrera, Harlan’s nurse and close friend. She brings realism as well as humour to the film. But above all these, perhaps for the accent alone, is Daniel Craig. Playing a Southern American private detective called Benoit Blanc anonymously hired to investigate claims of foul play, Craig is in delightful form, sporting a heavy Southern drawl and masterfully casting his suspicions around at the characters. Johnson’s script shines most notably within Craig’s lines. The two men clearly had immense fun in the creation of the absurd but ultimately decent Benoit Blanc.
Knives Out is not without its share of social and political commentary too, hidden subtly behind the extravagance of the whodunnit escapade. The Thrombeys – wealthy, upper-class and white – insist that Marta Cabrera, an immigrant, is a part of their family, not just the nurse. Up until it suits them, and then they start to emphasise that yes, she might be a part of it, but not by blood or not really true family. The audience never find out where Marta is from originally; it could be any one of the four South American countries various Thrombeys say she’s from, a comedic but ultimately racist running theme. There is inherited wealth and nepotism in all its awfulness and the unsavouriness this produces. Johnson weaves these themes into the overarching murder mystery seamlessly; heavy themes such as these work best when subtle and unforced. Right through to the end, the cutting commentary can be seen through the light-hearted whodunnit.
Knives Out grabs a winning murder mystery formula and modernises it, whilst never losing its traditions. The director and cast are unashamed in their passion for the genre and Knives Out benefits greatly from this no expenses spared approach. There were greater films released in 2019 (Parasite, Atlantics, The Lighthouse) but perhaps none as much fun as Knives Out.
4/5
Masterful in its direction and screenplay, and bolstered by memorable performances, Knives Out is a extravagant and enjoyable whodunnit.
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