I can't help but think that Knives Out is Rian Johnson's giant middle finger to all of those neck-bearded Star Wars fanboys out there who called him a hack because of The Last Jedi. If anything, this modern whodunit proves, beyond a shadow of a doubt, that Johnson is a terrific film-maker who just got caught up in the pop culture equivalent of the Kobayashi Maru test.
With just about every recent release being a remake, reboot or falking superhero flick, Knives Out feels quaint, like a film-noir detective story or a classic Western not helmed by Quentin Tarantino. Even though the film brings to mind movies like Clue or an Agatha Christie novel, Johnson quickly dispenses with the core keep-away that's driven every single murder mystery since time immemorial. So, not only are we getting a fun modern example of a sadly-defunct genre, we'r also getting a fresh spin on the whole thing.
Having said that, all of the key elements are here. Christopher Plummer plays Harlan Thrombey, a writer who's successful mystery novels have built an empire that his vapid and selfish relatives are consciously leeching off of. Between his adult children and various other hanger-ons, the line up of suspects various from slightly sneaky to downright reprehensible. As such, Harlan decides to clean house just before his 85'th birthday, giving everyone in this toxic inner circle some motivation to end him.
Clearly there isn't anything particularly original about this hoary old elevator pitch. This extends to the hackneyed setting, which looks like stately Wayne Manor packed with overflow stock from The Travelling Antiques Roadshow. But what takes Knives Out from novelty to something truly special is how this stock scenario plays out.
First up, there's the stellar cast. The aforementioned Plummer is his usual charismatic self, essentially acting as the bedrock on which all of the other players can tap-dance. Jamie Lee Curtis is fantastic as Harlan's flinty, non-nonsense elder daughter Linda, Don Johnson is dodgy and slimy as her skeeze-ball husband Richard and Chris Evans is wonderfully smarmy as the bratty trust-fund grandson Hugh.
A hippy-dippy Toni Collette is also stellar as Joni Thrombey. She's so convincingly fake that she actually loops back around to authentic again. Props also go out to the always-awesome Michael Shannon who plays Harlan's son was Walt. As the opportunistic overseer of his dad's publishing empire, Shannon really brings out the character's desperation as his station is threatened.
It's tough to stand out among all of this talent, but two performers in particular really hit it out of the park. The first is lead protagonist Marta Cabrera, played by Ana de Armas, who was last seen as dream girl Joi in Blade Runner 2049. Here she's asked to carry the entire film, which she does with considerable wit, pathos and humor.
The other top performer is Daniel Craig, who's clearly relishing his role as the southern-fried private dick Benoit Blanc. I'm just gonna ask Rian Johnson this right now: please, please, please bring this character back every few years for a series of unconventional modern mysteries. At first, it's downright weird hearing that particular voice coming out of James Bond's mouth, but Craig's enthusiasm is so infectious and he delivers the purposefully over-wrought with such aplomb that I stop worrying and just went with it.
Johnson's achievements aren't limited to the twisty-turny script or the dark humor inherent in the material. He also brings tremendous energy to the picture, directing the proceedings with considerable verve and artistic flair. Coupled with some crackerjack editing by Bob Ducsay and an appropriately-jaunty and string-heavy soundtrack by Nathan Johnson, you've got yourself a lively little crowd-pleaser.
I sincerely hope this film is successful and it kicks off a revival of the entire genre. Frankly, I'm at the stage where I'd take twelve of these things over one more mediocre Star Wars or Marvel movie.
Knives Out scores four stars out of five with a healthy tilt up towards the widow's walk.
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