When I first saw “Knives Out” in theaters in 2019, I remember knowing it was something special and unlike anything I’d seen before. It was a whodunnit that supposedly gave away the surprise twist within the first hour, and yet, it was one of the best murder mystery movies I’d ever seen. The film’s style and taste were a unique and refreshing look at what a murder mystery could be– not just convoluted and shocking but genuinely beautiful and clever, too.
One of the most wonderful things about “Knives Out” is its cast. It has to be one of the most impressive ensemble casts I’ve ever seen–with big names like Toni Collette, Michael Shannon, Christopher Plummer and Jamie Lee Curtis all serving as the scaffolding for the true center of our story. They give the entire film a polishedness that few films can achieve. In most cases, a movie can afford one, maybe two iconic names like theirs. But somehow, Rian Johnson cast them all flawlessly in the roles they inhabited.
Then, of course, we have our stars.
Chris Evans was fresh off the heels of his Marvel career, proving to the world that he was a household name for a reason. Daniel Craig, the current “James Bond,” slaps on a silly accent and delivers one of the best quirky detective characters put to the screen since Hercule Poirot. Ana de Armas, a Spanish actress practically unknown to American audiences a decade ago, plays home nurse Marta authentically, making it impossible not to root for her.
But a stellar cast can’t save a bad script or lame cinematography. Luckily, this film captures the essence of all the things we love about murder mysteries–it takes inspiration from iconic films like “Clue” by combining humor with a genuine emotional heart, making for a compelling narrative.
Along with an incredibly engaging and entertaining story, this film is simply stunning to look at. Every frame could be a painting. As Lieutenant Elliot, played by LaKeith Stanfield, so aptly puts it towards the film’s beginning, “I mean, [Harlon Thromby] practically lives in a Clue board.” Johnson once again paired up with longtime collaborator, cinematographer Steve Yedlin, to create a murder-mystery game come to life. The color grading is subtle but gives the entire film a dark and moody aesthetic. The glossy hardwoods feel deeper, the colors richer, with everything saturated and detailed, making this film fun to watch, even for the third (or fourth…or fifth…) time.
At its core, I love how this movie mixes different film styles to create something entirely different. It’s a modern take on a ‘60s movie. It has cheesy humor, stereotypical characters, and a stylized appearance. Still, it is neatly packaged in 2019 wrapping paper and tied with the ribbon of Rian Johnson’s fresh and modern writing.
Rating: 5/5
