Google Play Knives Out
The circumstances surrounding the death of crime novelist Harlan Thrombey are mysterious, but there's one thing that renowned Detective Benoit Blanc knows for sure-everyone in the wildly dysfunctional Thrombey family is a suspect. Now, Blanc must sift through a web of lies and red herrings to uncover the truth. From acclaimed writer-director Rian Johnson comes this suspenseful, twist-filled.
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Knives Out, 16 May–31 August 2020, from £3.49 - Book now
Coming off of the much-scrutinised (and actually quite good) Star Wars: The Last Jedi, it is clear that writer-director Rian Johnson was looking to let loose. Free from the weight of expectation, with Knives Out — an updated whodunit in the Agatha Christie tradition — Johnson rallys an all star cast and lets them at a sprawling murder-mystery that is so tightly plotted that it is difficult to say too much without spoiling the fun. And the film, starring Daniel Craig as a dapper private investigator with a southern drawl, Lakeith Stanfield as his Watson and Christopher Plummer as Harlan Thrombey, an extremely wealthy crime fiction author with a mysteriously cut throat, is a lot of fun.
Structured around Harlan’s death at a birthday party, the main suspects are his disgruntled extended family and the staff who help organise his life and home — aptly described as “Like a Clue Board.” Amongst assorted adult children, and grandchildren, the suspects include Jamie Lee Curtis as Harlan’s daughter Linda, Don Johnson as her slimy husband, Harlan’s son Walt (a bitter Michael Shannon), his wife Joni (Toni Collette), and Chris Evans as their delightfully skeevy son. There’s also Harlan’s nurse Marta (Ana de Armas), a Uruguayan immigrant with a distinctive condition: she can’t lie without vomiting.
Johnson played similar games with Brick, his hard-boiled high-school noir update starring Joseph Gordon-Levitt. As there, his affection for genre is obvious, with Craig’s gentleman detective and the grand old mansion setting (it’s faithful to our understanding of the typical whodunit. There is no mistaking this for a film of an earlier era though. Johnson’s script is riddled with up to date references to politics and social justice issues. From Jaeden Martell’s dweeby alt-right incel, to Katherine Langford’s specifically rich kid brand of hypocritical wokeness, the film wastes no opportunity in skewering worthy (Trump-y) targets and elite privilege.
Google Play Knives Out Film
Knives Out is available to rent on Google Play from £2.49.
Google Play Knives Out Game
Google Play Knives Out
Harlan Thrombey (Christopher Plummer) is a wildly successful mystery writer and he’s dead. His housekeeper Fran (Edi Patterson) finds him with a slit throat and the knife still in his hand. It looks like suicide, but there are some questions. After all, who really slits their own throat? A couple of cops (the wonderful pair of LaKeith Stanfield and Noah Segan) come to the Thrombey estate do a small investigation, just to make sure they’re not missing anything, and the film opens with their conversations with each of the Thrombey family members. Daughter Linda (Jamie Lee Curtis) is a successful businesswoman with a shit husband named Richard (Don Johnson) and an awful son named Ransom (Chris Evans). Son Walt (Michael Shannon) runs the publishing side, but he’s been fighting a lot with dear old dad. Daughter-in-law Joni (Toni Collette) is deep into self-help but has been helping herself by ripping off the old man. Finally, there’s Marta Cabrera (Ana de Armas), the real heroine of “Knives Out” and Harlan’s most trusted confidante. Can she help solve the case?
The case may have just been closed if not for the arrival of the famous detective Benoit Blanc, played by Daniel Craig, who spins a southern drawl and oversized ego into something instantly memorable. Blanc was delivered a news story about the suicide and envelope of money. So someone thinks this is fishy. Why? And who? The question of who brought in Blanc drives the narrative as much as who killed Harlan. Johnson is constantly presenting viewers with the familiar, especially fans of the mystery movie—the single palatial setting, the family of monsters, the exaggerated detective—but then he subverts them every so slightly, and it feels fresh. So while Blanc feels like a Poirot riff, Johnson and Craig avoid turning it into a caricature of something we’ve seen before.
Craig is delightful—I love the excitement in his voice when he figures things out late in the film—but some of the cast gets lost. It’s inevitable with one this big, but if you’re going to “Knives Out” for a specific actor or actress, be aware that it’s a large ensemble piece and your fave may get short shrift. Unless your favorite is Ana de Armas, who is really the heart of the movie, allowing Johnson to imbue “Knives Out” with some wonderful political commentary. The Thrombeys claim to love Marta, even if they can’t remember which South American country she comes from, and Don Johnson gets a few razor sharp scenes as the kind of guy who rants about immigration before quoting “Hamilton.” It’s not embedded in the entire piece as much as “Get Out,” but this “Out” is similar in the way it uses genre structure to say something about wealth and social inequality. And in terms of performance, the often-promising de Armas has never been handed a role this big, and she totally delivers.