Knives Out
Daniel Craig, LaKeith Sttanfield, and Noah Segan in Rain Johnson's KNIVES OUT. Image courtesy TIFF.
If Trumpism and the coming backlash were a movie, it might be KNIVES OUT. A day after his 85th birthday, mystery novelist Harlan Thrombey (Christopher Plummer) dies under questionable circumstances, leaving the question of his inheritance wide open. Before his family of entitled squabblers can cash in, they must tolerate questions from local detectives and an eccentric private investigator.
Not necessarily an innovative whodunit story, KNIVES’ characters are dynamic, the dialogue snappy, and it culminates in such a satisfying resolution that one may overlook its oft hammer-like subtlety. KNIVES OUT also doubles as a parable for America’s deeply entrenched racism: the Thrombey clan is civil with their father’s “hard working” nurse, Marta (Ana de Armas). Even though she’s from ‘one of those south American countries’, she might as well be part of the family! Well, as long as she keeps to the periphery…
The Thrombey fortune was amassed by Harlan, a prolific and popular mystery writer, yet his offspring trumpet their “self-made” stories of success (omitted is mention of dad’s initial loan). His wealth is their “birth right”. When Richard (Don Johnson) grills Marta about the difference between good immigrants and bad “illegals” it’s clear these parallels were intended to be transparent. This is the type of film that doesn’t want – or need – a delicate touch.
Daniel Craig is a delight, sinking his teeth into the hammy Southern charm of Detective Blanc. So infectious is his glee you’ll forgive the formulaic “big reveal” exposition because it’s just so damn fun to watch him. In less skilled hands, Marta – the singular good person in the entire ensemble – could’ve easily been one-note, but de Armas gives her unexpected dimension, balancing empathy with clever tenacity. It’s impossible not to root for her. Chris Evans, fresh off a return to the era of segregation in AVENGERS: ENDGAME, skillfully steps into a character more overtly representing the entitlement enabling systemic racism: Ransom Drysdale is exactly as smarmy and insufferable as his name suggests.
With a cast that includes such heavyweights as Toni Collette, Jamie Lee Curtis, Michael Shannon, and Christopher Plummer, it’s virtually impossible to single out a favorite. Every one of them is pitch-perfect. KNIVES OUT is a perfectly manufactured “crowd pleaser”, and revels in it. You can’t begrudge the film a single frame because its self-aware attitude is so thoroughly enjoyable.