American car designer Carroll Shelby and driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966.
A charismatic New York City jeweler always on the lookout for the next big score, makes a series of high-stakes bets that could lead to the windfall of a lifetime. Howard must perform a precarious high-wire act, balancing business, family, and encroaching adversaries on all sides, in his relentless pursuit of the ultimate win.
When renowned crime novelist Harlan Thrombey (Christopher Plummer) is found dead at his estate just after his 85th birthday, the inquisitive and debonair Detective Benoit Blanc (Daniel Craig) is mysteriously enlisted to investigate. From Harlan's dysfunctional family to his devoted staff, Blanc sifts through a web of red herrings and self-serving lies to uncover the truth behind Harlan's untimely death.Written by
If I had a chunk, a piece, the tiniest little fragment of Rian Johnson's mind, I'm still not sure I'd know what to do with it. Forgive me for the number of superlatives in this one.
Knives Out is astonishing. An immensely entertaining, thrillingly escapist whodunnit that pulls the rug out from underneath you more times than you can count. Every line has a payoff, every hint has a resolution. It's razor sharp and uproariously funny, with Johnson giving every cast member enough juice to play with but plenty of room to still have their own unique kinds of fun. It's a writers' movie through and through, but the cast still shine.
Saying any more and properly diving into what Johnson is really doing here risks spoiling elements the film, and Knives Out is not a story you want spoiled. Johnson reliably plays with formula, he riffs on Vertigo and adds layer upon layer, having a blast as he does so - and it's infectious. Sharp, fast, funny and beautifully satisfying down to its body-tinglingly cathartic final frame. Knives Out is a fiendishly and relentlessly clever film, but Johnson does what he always does - he makes it look easy.
My favourite film of the year.
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