“Rotten Vegetables and Agata Christi”
From one accomplishment to the next. Two powerful “Breaking Bad” series, several innovative broadway films and even a controversial part of the “Star Wars” saga. Such is, in short, the résumé of director Ryan Johnson. It seems quite logical that, after working with the Hollywood giant Disney, the artist takes advantage of the opportunity he earned, for the first time, to sit in the chair of both the director and the producer of the film “Knives Out.”
For a mere 40 million budget he has put under one roof, stars such as Bond Daniel Craig, Christopher Plamer, the ever-charismatic Jamie Lee Curtis, and many other admiring actors. They were all coaxed together in the process of breaking up a mysterious crime. “On knives” is one of the rare detective films that has come to the big screens rather than streaming services, where this genre has had more agreement in recent years. It might take a long time to think about why it was such a choice. Actors’ plead, the chance to see Daniel Craig in cinemas while the Broccoli family can’t end up chattering with the latest release of Bondiade … Many yes and no, but all in all glad to see, there are a few more big names in Hollywood that don’t fall into the alluring offerings of the digital giants.
On the other hand, the film would fit perfectly in the “Netflix” offerings and not just because of the genre. You can get used to seeing the myriad references to literature, history, art, and simply studying the film’s semiotics in more detail. If there is an interest, soon after the film was released, a Syrian will have arranged for an advanced analysis that will certify, “Yes, the director has put everything of himself in this film.” But you can do it without it because two hours later it can be very well understood in a movie theatre. The successful balance between tension and humour lifted my blood pressure so high that I was anxious to measure it. Autumn’s depressing feelings will also be forgotten, as the film takes in easy but with great force. It’s not easy to do that, and for once again, Johnson continues to take on big risks and justifies them with more.
A surprising and very welcome choice is to give a key role to the relatively obscure Anai de Armasa. It might seem that all the lights of the stage would be focused on familiar names, but no. This actress, who has shown her face in big movies like Blade Runner 2049 in recent years, has finally gotten to the chance to pass the lights. Keeping up with Michael Shannon, Don Johnson and the same Craig is no joke. If “Knives Out” was nominated for Academy, it would be a sin to run past her name. Lakite Stanfield also appears from “Sorry to Bother You” as one of the poachers in the shadow of Craig’s rendered freelancer Benos Blank. With an emphasis on “sneaking” in many scenes and stealing the spotlight from Noah Sheegan, who represents the naive assistant investigator. His image perfectly reflects the feelings of the average audience – laughter, grief, shock and delight.
This is no “Murdering in the East Express” with Kenneth Bran’s gigantic whiskers. Instead of simply completing the “Mystery of Murder” formula, Johnson has put his heart on it. Each frame is beaming and there is nothing to spare. The foundations of the genre are respected, and they have been approached with mild hints that events take place in 2019. The testimony is recorded with smartphones, long articles in magazines no longer read – just the headlines on Twitter. The family itself, around which the grisly events will take place, also shows the dark side of the “American Dream.” The story of a grandfather who has cultivated ravages with his millions in generations is more than up-to-date. The direction is also right: to understand sooner or later the consequences of their actions and to try to turn everything in favor.
This is an intellectual masterpiece designed for an almost universal audience. The small will remember that good films take off in a larger hazy than the generations of weavers, X and Y will appreciate the film’s multilayering. The highest point is that if the marketing campaign goes down to the rooms that have already been covered by the “Midsommer killings”, this film will be a good reason to go to the cinema to smell the smell of popcorn and remember what a real cinema is. All respect for the distributors for the localized notice – it accurately describes what the director with the viewer does from the first to the last minute – there on knives.