Search
Search results
Kirk Bage (1775 KP) rated Knives Out (2019) in Movies
Jan 22, 2021
Murder mystery films tend to be more fun in theory and anticipation than they are to watch. It’s a genre that I very much enjoy and have indulged in over the years. Yet, if I look back in detail at it, I find that it is the books, especially those of Agatha Christie, that I like much more than anything lasting a couple of hours on the screen. There’s something about the mystery being rushed and squeezed into the cinema artform that is usually anti-climactic or even a full on let down.
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!
Perhaps my favourite of the entire genre is a film that refuses to take itself seriously and is at once a pastiche of the multiple cliches that have accumulated over the years. And that film is, of course, the wonderfully camp, funny and charming 1985 romp Clue, starring Tim Curry and a slough of 80s B stars having the time of their lives. It isn’t a “good” film, it is a cult film, it’s joy being in its absolute lack of pretension or moral judgement. Like the board game that inspired it, it isn’t overly complicated or long, but has just enough cleverness, mirth and ambiance about it to always be a winner.
Rian Johnson’s take on the genre, Knives Out, is aware of these elements at all times, being above all things colourful, playful, arch and glib, but never convoluted or cerebral in an alienating way. He is something of a master at subverting a genre and wringing new life into it; take the invention of the teen noir in Brick, or the blend of assassin time travel sci-fi in Looper. He even gave an entire franchise a new breath of life by re-examining the use of humour and self referencing in Star Wars: The Last Jedi.
All of those previous films have as many detractors as mega fans, proving his style is devisive, for its audacity and its irreverence towards any idea of purism within an established model. And Knives Out is no exception to that. However, it may be the film of his that most people can agree on that they enjoyed, for one reason or another. I think it’s as interesting to ask why that is as it is to talk about the film itself… so, I will. At least, I’ll try to do both without losing my train of thought.
Firstly, it looks stunning; the palate of rich colours used in the poster and all marketing just make it look like something you want to immerse yourself in – every jacket, tie, dress, or piece of furniture is designed to precision, and it works like a dream of the genre you may have once had, as if it had been plucked directly from your subconscious. As in all good murder mysteries, the location, props and costumes should hold as much character as the actors, and the stately home of the Thrombey family certainly provides plenty of atmosphere in every texture and material on display.
Of course, the cast of characters is wonderfully put together with some inspired casting of familiar faces and actors you trust, such as Toni Collette and Michael Shannon, together with a few we don’t see enough of these days, such as Jamie Lee Curtis and Don Johnson, who both manage to create something as memorable as anything they did in their golden days. Add to the mix two bone fide action film superstars in Daniel Craig and Chris Evans, who leave the baggage of their most famous characters far behind and manage to convince you they are real actors again, the former with the aide of a jarring but hilarious Southern drawl, that grates at first but is a perfect choice on reflection.
Then there are the two lynchpins of this film’s ultimate success and joy: the exceptional legendary gravitas of 90 year old Christopher Plummer as the patriarch and victim at the centre of the intrigue, and the quite glorious revelation of Ana de Armas, whose charisma, beauty and skill in this delicately balanced role was the most impressive thing for me about the whole production. It may be Craig who is the ever present focus, as the detective tasked with solving the “crime”, but it is de Armas that you will remember most long after the credits roll.
As for the plot, well… I obviously can’t talk about it without ruining the whole thing. But, I can say that it isn’t far into the intricate web of motives, alibis and secrets before you start to sense this is going somewhere different, even unique. The examination of the relationships and personalities, and the extent to which they each demonstrate greed and selfishness is fascinating, superceding the crime that exists on the surface with a swamp of far seedier and unpleasant goings-on. Craig’s suave Benoit Blanc isn’t so much a detective here as a family therapist, or perhaps a supernatural presence in the style of the old classic, An Inspector Calls. Perhaps, it is suggested, no one completely escapes guilt and shame here… or do they? Are we looking for a murderer, or the only morally good person amidst a pack of dogs?
Another key element is how modern and unstuffy it feels, despite the country house and riches this is no play of manners, quite the opposite – no one here is on their best behaviour for the sake of decorum, and being upper class is an idea played with rather than enforced. The tea and cakes of the classic Christie, such as Murder on the Orient Express is replaced by smartphones and similar trappings, that identify it as definitely 2019 and no period piece. The concerns and themes are very much rooted in our present problems, and for that it engages and resonates in ways a costume drama just can’t do.
Upon finishing it for the first time, you may be thinking “sure, OK, I enjoyed that… but I’m not blown away here”. Then, as it sinks in over coming weeks, you find yourself recommending it to people, and thinking about how good it is in ways you didn’t initially think about. And that is surely why it was so embraced by the critics and paying public alike; it is a likeable, fun film, that can also stand some artistic scrutiny. It isn’t the smartest, or prettiest, or most meaningful film ever made, but it is enough of all three to make it an instant mini-classic, in my opinion.
I feel like there is maybe more to say about it, which is always a good sign, but that will do for now. I’d be happy to discuss it with anyone that feels the need. Or hear from anyone that didn’t like it! It would be interesting to hear that side of it, because I haven’t heard many negative comments on it at all. I don’t think I would defend it as a masterpiece to the end of the Earth, ‘cos it ain’t that good. I’m just hard pressed to find a serious fault. And it’s great when one of those sneaks up on you!
Darren (1599 KP) rated American Heist (2015) in Movies
Jun 20, 2019
Story: American Heist starts with James (Christensen) waiting before starting to look for someone then an explosion surprises him bring us back a day in time where we follow James going about his everyday life. James has a brother Frankie (Brody) fresh out of prison being picked up by his criminal connection Sugar (Akon) who keeps him happy with drinks, drugs and girls on his first night out before meeting the boss Ray (Kittles).
James has turned his life around where he now works on the straight life working as a mechanic, he sees an old flame Emily (Brewster) back in town where James sees his life moving in the right direction. Frankie turns up to see his brother’s life after ten years locked away. Frankie arranges to meet for drinks with James which leads to him discussion a new job opportunity which leads us back to the opening scene where James gets tricked into a job as Frankie is trying to repay his debts.
Ray has assembled a team to pull off an elaborate bank robbery which will finally see Frankie pay back the debts he owes because James has the skills to get part of the plan done.
American Heist is a story that does seem to follow the traditional idea of a recently released from prison criminal goes straight back into the criminal world even if it isn’t fully his desire. We also see how the man thinking he has escaped from the criminal world gets dragged back in for one more job. This side of the story has been done before but is does really push the two brothers on an emotional level. When it comes to the actual heist it does become the secondary story behind the brothers relationship with the preparation being a quick flash scene and like most heist films go completely wrong. The story will have to go down as a solid entry into the genre but won’t be a film climbing into anyone’s best. (7/10)
Actor Review
Hayden Christensen: James is the former criminal who has turned his life around with a clean cut job where he is trying to get his own business, his life may not be perfect but he is happy that everything is all legal now. When his brothers released from prison he ends up caught up trying to pay off Frankie’s debts forced into working for criminal Ray. Hayden continues to try and recover from the criticism he got for Star Wars with another anti pretty boy film where he tries to play tough but doesn’t quite pull it off. (6/10)
james
Adrien Brody: Frankie is James’ brother who fresh out of prisoner does straight back into his criminal underworld where criminal boss Ray wants both Frankie and James to work for him. Frankie went through a lot in prison and always stood up for his brothers, as well as helping him become the man he is now. Adrien gives a performance you would expect from an Oscar winner, he does show his skills but sometimes feels like he is overacting to the situations. (7/10)
frankie
Jordana Brewster: Emily is the old flame who comes back into James’ life. Emily just so happens to be a dispatch caller for the police which could make the bank job all that much harder as Emily and James start rekindling their romance. Jordana does a good job but really doesn’t get enough screen time for the romantic angle in the story. (6/10)
Akon: Sugar is the second in command to Ray who gets the dirty jobs done when other people won’t get involved. Akon does make a good supporting actor never trying to over act like many musicians do when they enter the acting world. (7/10)
Tory Kittles: Ray is the criminal who helped Frankie in prison leaving him being owed a favour from Frankie when he finally gets out. Ray makes Frankie bring James back into the criminal world to take part in an elaborate heist. Tory makes for a good emotionless tough criminal who believes in every word he is saying. (7/10)
Support Cast: American Heist doesn’t really have many more characters involved in the story, we have the generic characters trying to chase down the criminals and the members of the group trying to pull off the heist.
Director Review: Sarik Andreasyan – Sarik gives us a solid heist film that really does focus on the relationship between the two brothers who have gone down different paths but must work together one last time. (7/10)
Action: American Heist keeps the action in a realistic level apart from one moment, making each feel like it could be a real heist and aftermath. (7/10)
Drama: American Heist creates a dysfunctional relationship between the two brothers which helps show just how far they would go for each other. (7/10)
Settings: American Heist keeps the settings in location where you would imagine the characters would want to turn to crime to end all the suffering they are going through. (8/10)
Suggestion: American Heist is one to try, I do think if you are a fan of the genre you will enjoy but there is only so much you can do with a heist film without fully copying anything else. (Try It)
Best Part: I really liked how the film ended, but can’t give it away.
Worst Part: How James gets pulled into the criminal world again.
Action Scene Of The Film: Ray’s escape attempt.
Believability: The heist feels like it could be how a real one would end, but the relationship side mixed with the heist not so. (4/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Kill Point (TV Show)
Oscar Chances: None
Budget: $10 Million
Runtime: 1 Hour 34 Minutes
Overall: American Heist will go down as an emotionally gritty heist film about two brothers.
https://moviesreview101.com/2015/05/26/american-heist-2015/
James has turned his life around where he now works on the straight life working as a mechanic, he sees an old flame Emily (Brewster) back in town where James sees his life moving in the right direction. Frankie turns up to see his brother’s life after ten years locked away. Frankie arranges to meet for drinks with James which leads to him discussion a new job opportunity which leads us back to the opening scene where James gets tricked into a job as Frankie is trying to repay his debts.
Ray has assembled a team to pull off an elaborate bank robbery which will finally see Frankie pay back the debts he owes because James has the skills to get part of the plan done.
American Heist is a story that does seem to follow the traditional idea of a recently released from prison criminal goes straight back into the criminal world even if it isn’t fully his desire. We also see how the man thinking he has escaped from the criminal world gets dragged back in for one more job. This side of the story has been done before but is does really push the two brothers on an emotional level. When it comes to the actual heist it does become the secondary story behind the brothers relationship with the preparation being a quick flash scene and like most heist films go completely wrong. The story will have to go down as a solid entry into the genre but won’t be a film climbing into anyone’s best. (7/10)
Actor Review
Hayden Christensen: James is the former criminal who has turned his life around with a clean cut job where he is trying to get his own business, his life may not be perfect but he is happy that everything is all legal now. When his brothers released from prison he ends up caught up trying to pay off Frankie’s debts forced into working for criminal Ray. Hayden continues to try and recover from the criticism he got for Star Wars with another anti pretty boy film where he tries to play tough but doesn’t quite pull it off. (6/10)
james
Adrien Brody: Frankie is James’ brother who fresh out of prisoner does straight back into his criminal underworld where criminal boss Ray wants both Frankie and James to work for him. Frankie went through a lot in prison and always stood up for his brothers, as well as helping him become the man he is now. Adrien gives a performance you would expect from an Oscar winner, he does show his skills but sometimes feels like he is overacting to the situations. (7/10)
frankie
Jordana Brewster: Emily is the old flame who comes back into James’ life. Emily just so happens to be a dispatch caller for the police which could make the bank job all that much harder as Emily and James start rekindling their romance. Jordana does a good job but really doesn’t get enough screen time for the romantic angle in the story. (6/10)
Akon: Sugar is the second in command to Ray who gets the dirty jobs done when other people won’t get involved. Akon does make a good supporting actor never trying to over act like many musicians do when they enter the acting world. (7/10)
Tory Kittles: Ray is the criminal who helped Frankie in prison leaving him being owed a favour from Frankie when he finally gets out. Ray makes Frankie bring James back into the criminal world to take part in an elaborate heist. Tory makes for a good emotionless tough criminal who believes in every word he is saying. (7/10)
Support Cast: American Heist doesn’t really have many more characters involved in the story, we have the generic characters trying to chase down the criminals and the members of the group trying to pull off the heist.
Director Review: Sarik Andreasyan – Sarik gives us a solid heist film that really does focus on the relationship between the two brothers who have gone down different paths but must work together one last time. (7/10)
Action: American Heist keeps the action in a realistic level apart from one moment, making each feel like it could be a real heist and aftermath. (7/10)
Drama: American Heist creates a dysfunctional relationship between the two brothers which helps show just how far they would go for each other. (7/10)
Settings: American Heist keeps the settings in location where you would imagine the characters would want to turn to crime to end all the suffering they are going through. (8/10)
Suggestion: American Heist is one to try, I do think if you are a fan of the genre you will enjoy but there is only so much you can do with a heist film without fully copying anything else. (Try It)
Best Part: I really liked how the film ended, but can’t give it away.
Worst Part: How James gets pulled into the criminal world again.
Action Scene Of The Film: Ray’s escape attempt.
Believability: The heist feels like it could be how a real one would end, but the relationship side mixed with the heist not so. (4/10)
Chances of Tears: No (0/10)
Chances of Sequel: No
Post Credits Scene: No
Similar Too: Kill Point (TV Show)
Oscar Chances: None
Budget: $10 Million
Runtime: 1 Hour 34 Minutes
Overall: American Heist will go down as an emotionally gritty heist film about two brothers.
https://moviesreview101.com/2015/05/26/american-heist-2015/
Nymphomaniac Volume II (2014)
6.3
Rate It
Movie Watch
Joe becomes annoyed with Seligman, accusing him of overlooking the severity of her lost sexuality to...