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farewellwndrlst · 1 year

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glass onion: a knives out mystery (2023)

among us, a detective in the bathroom and a crime trip for the mona lisa.

you've seen one, you've seen them all. you know the drill.

a typical detective story in its structure is skillfully diluted with humor and gradual hints of a clue. the story of one murder - conceived, invented by miles for his friends, turns into the story of the murder of a man who was separated from their company.

rian johnson, three years after the devastating first part, doesn’t repeat the canon from the first story, where a character so rude and eccentric suddenly appears that we all immediately think that he was the one who committed the murder. he tried to confuse the viewer and he managed to do it.

an interminable prologue in which all the key players are introduced.

what cards are laid out on our table?

a world-famous detective who is in quarantine in his apartment playing "among us" (and constantly losing), while he wants some new noisy case where he can chase someone

he's cool and cunning, but also a pretty sweet man who smokes in a "smokeless garden", wears an old-fashioned bathing suit and tries to win an ipad, just because he has to remain a pretty nice old man who in the end will be disappointed that everything was not enough interesting and too "stupid".

an insanely rich genius who only faxes, plays a death game on a separate island, hangs paintings upside down, rents a mona lisa and still (shock) is not a nice guy.

dependent people who all have their own reasons to kill this businessman - a dumb jock-streamer, a politician who can be influenced by the support of an opponent, a scientist who can lose his job if he does not approve another idea, a girl on whom a businessman wants to shift responsibility, and an old business partner whose idea the businessman stole.

and a couple of wonderful cameos, like ethan hawke showing up for a minute and a half, saying that journey won't be long, wishing them a great trip and adding "you're good", or joseph gordon levitt, who is constantly in the movie but we never see him.

you get a sense of the world they inhabit, and then the one character gets bumped off. there's been a murder?

the game of killing a businessman is revealed at 40 minutes. he is disappointed, but benoit blanc explains quite quickly that everyone has a reason to commit a real murder, not a game and the first shot rattles.

not exactly a shot, but the first death makes everyone fear for their reputation (and the businessman begins to fear for his life, realizing that he was very close to death). the panic is followed by a blackout and the phrase "leave a gun on a table in a room without light" becomes so literal that another murder is committed.

and then gathers all the suspects in the drawing room and points the finger at the least likely chump because of the way the guy, idk, ties his shoelaces.

but no.

a string of murders does not lead to an unexpected suspense. we immediately understand who the killer is, we see the motives, but they still successfully confuse us in the first half of the film in order to show the denouement at the end and say "yes, by the way, you were right all this time, because the answer was under your nose, but you missed this moment, so the puzzle did not add up, even though it was actually stupid."

and while we look at the drama and flames that should keep us on our toes, we also see a detective who led his client to a clue and now looks at the grand fire from a lawn chair along with a comic relief character.

'i will take your expectations, deceive them, and then deceive the deception of expectations'

and nothing more.

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monicalorandavis · 4 years

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I saw ‘Knives Out’ a week ago and I’m still reeling

I saw ‘Knives Out’ a week ago and I’m still reeling. This movie is fun and I simply won’t talk to anyone who disagrees! I don’t want to argue about its merits. It’s good.

Your issue is, I presume, an issue with what the film says about the upper class. Go on, sympathize for the horrible, rich family that represents all that is ugly with America. Feel bad for the racist gargoyles who are equal parts human and checking account. These people are snobs. They are snob dumpster fires and if you didn’t have fun roasting them then you and I are on different sides of the war.

What war you ask? I guess I’ll call it the culture war (though that’s not really it). I’m talking about the current (unannounced) civil war between those who think Trump is getting unfairly maligned and us, the ones who are looking back on this shameful era ten years down the line, explaining to our kids what the fuck happened in 2019. This is bad. Art should make fun of us. Our obsession with fame and fortune has gotten us into global laughing stock territory. So let’s allow for art to poke fun as the bullshit of America. Art should be a reflection of our ugly parts. We all must look in the mirror when we try on a bathing suit. This is that. I choose not to place blame on the world for my muffin top. It’s funny. I’m gonna still have fun with this muffin, and this film, even if it doesn’t make me feel amazing. Laughing at yourself exorcises the demons. We still need art to encourage our spiritual progress. Don’t be such a stick in the mud.

So, now that I’ve sorted that out, the film...

It’s good.

Now let’s focus on the acting which is, arguably, always my favorite part of any movie.

Didn’t we all revel in the Yosemite Sam impression Daniel Craig was doing with New Orleans private investigator, Benoit Blanc? Wasn’t Lakeith Stanfield playing the slightly oblivious police detective while his partner fangirled over Christopher Plummer a treat?

It was.

In a society so obsessed with celebrity, it was especially delightful to watch the investigators reckon with people who simply did not believe they had to play by the rules. They don’t have to partake in police questioning. They have people for that!

Only, they do have to partake in police questioning and their lack of experience in dealing with authority figures, like the police, made them particularly horrible witnesses. They quite enjoyed a wonderfully anonymous type of wealth, free from press and the quotidian boredom of bosses, day jobs, rules...you get it. The Thrombey’s do not handle inconvenience very well.

As a result, we delight in their misfortune. This move dripped with Agatha Christie meets Succession realness. Plus subtle notes of Rupaul’s Drag Race camp.

Yes, I admit, Benoit Blanc is no Hercule Poirot. All these mystery purists coming for ‘Knives Out’ best fall back with those comparisons because it’s simply unfair. Christie’s number one Belgian is too good for mere mortals to emulate. And Daniel Craig tried very, very hard to give you an iconic detective character. Was it goofy and weird? Yes. Let’s all agree to move on.

And the moving on is a larger lesson here. Because only when you surrender to this film does it reveal all its gifts to you. Once you stop comparing it to all the other stories you hold so dear does it grow into its own animal. It’s a mystery for the age in which we find ourselves. I will not slander the p.c. police because, hell, I’m sort of one of them. Social justice warrior is not an insult that rustles my feathers. Interestingly, this film joins the SJW’s alongside the Stephen Miller’s of the world. White privilege is white privilege. And, unfortunately, the Thrombey’s, both young and old, liberal and conservative, are victims of their privilege. So blind to the plight of others, they can not help but make themselves the heroes of their own story. And people don’t like the thought that they, like the film’s youngest SJW of the family, Katherine Langford, could be part of the problem. And yet, she is. She so is.

Langford delivers a knockout performance of Taylor Swift-level white feminism that is so 2019 and clueless that I imagine many people even missed the joke.

Along those same lines, Chris Evans is the playboy, black sheep of the family who seems misunderstood and sexy but, spoiler alert, is just conniving and sexy.

Both performances were stellar and so deeply entrenched in modern white identity politics that if you’re not paying attention you might assume that their characters are just your standard rich villains. Nay. These are the “good white people” who are behaving badly. These are the white people who donate to charities and hire undocumented workers like Ana de Armas’ character, Marta. They are people who listen to rap music and love ‘Insecure’ and took an African-American studies class in college. And yet, they demand attention and emotional labor from the (employed) people around them. They distort proximity with closeness and try to lure Marta into their world. But she always knows better. For whatever reason, she can not trust these people, even before Harlan’s death.

Rian Johnson directs with a certain je ne sais quoi. Call it a ‘BDE’ that I would not expect from such a dweeby looking dweeb. Yes, ‘Knives Out’ has a fun enough story. But it really shows the fuck out is with its performances. Holy moly. No small roles, only small actors, as the saying goes. Yet in the case of ‘Knives Out’ you will find neither. Everybody is a god damn star. You should know that I stan Chris Evans but, as it turns out, this film begs you to worship its entire cast. So I did.

‘Knives Out’ is a star-making performance for Ana de Armas. If you hadn’t heard, de Armas garnered a Golden Globe nod and it is well-deserved. Armas’ Marta is a nuanced, funny, sensitive, conspirator in a plot that could’ve isolated the audience but instead put us smack dab in the middle of a moral quagmire.

Only the best actors can pull this off. Lesser actors have us turn against them while they flounder. Marta’s role in the family drama is as an outsider. In spite of their insistence that she is one of them, she keeps her distance, only clinging to Harlan. She fell for Chris Evans’ charms briefly, and I applaud Rian Johnson for avoiding a romance between the two (we didn’t need it) and focusing instead on the emotional betrayal. Marta was a woman with her head screwed on straight. In spite of her, possible, nursing fumbles she was the only kind person Harlan had in his life. She would never risk her loyalty to him by engaging in some foolishness with Chris Evans’ hunky ass.

And I repeat, I don’t care about your thoughts regarding inheritance. It is silly to contest that Marta deserved nothing less than the full sum of the fortune (*spoiler*). She deserved everything. She deserved an existence in this country free from citizenship anxiety. She deserved a partner who loved her. She deserved a friend who didn’t kill himself to save her ass. Least of all, she deserved Chris Evans’ character to be better. But, he was a product of his shitty family. How could he be better?

Three names: Jamie. Lee. Curtis. I need her in at least seven to twelve projects in the coming year. She is a stand out among stand outs. She serves up the quintessential performance of a cold-hearted bitch that is so likeable that I will patiently await the spin-off. I need to know where her Linda Drysdale is now. If anyone in the family was able to land on their feet it was Linda. We all know it.

Linda was the only Thrombey child who had the guts to make it without a handout. Her loser husband, played by the ever-handsomer Don Johnson, was practically useless. Her loser brother, played by the unusually diminutive Michael Shannon, was the same. Her sister in law, played by the illustrious Toni Collette, had her head so far up her own ass that even Gwyneth Paltrow would blush.

Poor Linda. She was surrounded by idiots. I hope she’s doing ok.

And now, we’re at the end. I’ve tried my best to avoid any horrible spoilers. But I’ve also taken a deep dive into SJW’s so I might’ve gotten off track along the way...

In any event, this movie is good. And I can’t wait to see it again.

#knives out #christopher plummer #ana de armas #jamie lee curtis #don johnson #rian johnson #lakeith stanfield #mystery #agatha christie #hercule poirot #daniel craig

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