Film Review: Knives Out

Rian Johnson, the director most notably known for his divisive chapter in the Star Wars sequel trilogy, arrives into the 2019 film scene with his unique murder mystery Knives Out. The culmination of his razor-sharp dramatic writing, clever misdirections, and genuine shock are what make Knives Out the quintessential whiplash film of the year.

After esteemed, rich author Harlan Thrombey (Christopher Plummer) is discovered with his throat slashed in his study, the honourable Detective Benoit Blanc (Daniel Craig) launches an investigation. Dysfunctional intentions are discovered, values are rehashed, and a family begins the process of dismantling itself from the inside out, all the while a cold body awaits its verdict.

Johnson creates his own unique murder mystery genre that can be best described as an archetypal hard-boiled detective novel with aristocratic tension. It is very apparent in the stylistic choices that this isn’t just an over-the-top entertaining film with nothing to say. Johnson effortlessly ties in themes of class relations and subtle xenophobia, while consistently maintaining an engaging and wild ride for the viewer.

Craig’s physical presence and drawn Southern accent illuminate the comedy, Johnson matches it with undeniable commentary. This is prevalent especially in the family’s topical “discussion” of the current president; Johnson cleverly uses this opportunity to deliver consequential realities and creates a scene with an atmosphere that matches the tension at your own familial Thanksgiving debates.

Knives Out creates a strong and boisterous composition in every shot; every aspect of the frame is thoroughly planned and meticulous. The minute you think you know the truth, a detail is revealed in the minutiae of the frame that alters your perception. The costume and set design are the perfect combinations of contemporary and old-school rich; as a viewer you sometimes forget you’re watching a film that takes place in the 21^st century, and not an animated game of Clue in the 1970s. 

Performances from the cast are impeccable, with stand-outs like Toni Collette giving exuberant life to the line “I read a tweet about a New Yorker article about you!” in perfect fashion. While some of the comedic elements fall flat, the cast make excellent work in keeping the tone consistent despite this malfeasance.

What ties the whole film together is the sound design and accompanying score. Together, they create an ambience of deceit and doubt, and brought together with the other formal elements, creates a perfect mix of addicting uneasiness. Sound is unbelievably clever in this movie, especially in character flashbacks and minute details. If a character is in trouble, sounds become infinitely more distinct – for example the tapping of Michael Shannon’s cane, or the flip of the detective’s coin.

The whodunnit mystery can indulge in itself and be overdone with the wrong creative team. Twists can seem like an excuse for a dull narrative, and the end product can be unsatisfying. However, Rian Johnson and his team are able to form something completely new without sacrificing meaning, emotion, or surprise. Clever filmmaking is a feat on its own, but when paired with an impeccably written story, the film becomes a spectacle. Viewers are encouraged to make connections, look for clues, and decipher the truth, proving it is incredibly important that every single detail is meticulously and purposefully planned. To top it all off, Chris Evans wears some amazing sweaters, which you definitely don’t want to miss.