In March of 1949, renowned mystery author Agatha Christie published “Crooked House,” a thriller surrounding the death of a fictional patriarch, killed by poisoned eye drops.
Over 50 years later, in 2001, Radiohead released the song “Knives Out.” It contains cheerful pleasantries like, “Cook him up, squash his head,” and “put him in a pot.”
What do these two seemingly unrelated artistic endeavors have in common? They were the inspiration for the first movie in a wonderfully gruesome trilogy directed by Rian Johnson.
The Knives Out series is one near and dear to my heart. I remember watching the first one with my family in the theater, gripping the Alamo armrest tight as I peeked through my fingers at the unfurling chaos. We watched it again when it was later released on Netflix, unpacking every clue and glance weeks after its initial release.
That was in 2019, and almost six years later, the Knives Out movies are coming to a momentary close with the newest release, Knives Out: Wake Up Deadman.
To say that the initial movie was successful is a gross understatement. My family wasn’t the only one obsessed with the story of Benoit Blanc’s first case. The first Knives Out movie grossed over $312 million worldwide with a $40 million budget. It wasn’t just a box-office success, however.
The first Knives Out is a classic whodunit with a notable cast and memorable imagery. The storyline is simultaneously complex and easy to follow, with turns that have stayed in my mind since my initial viewing.
Not to be outdone, the second movie in the franchise, The Glass Onion, was another enjoyable experience. Although the directorial style keeps the two projects consistent, the changing cast and distinct story lines keep it fresh and enjoyable. The only solid commonality between the two is Benoit Blanc (played by Daniel Craig), a lovable and clever detective who is a grounded outsider throughout the chaos.
With so many additions to the mystery genre, the first two films of the Knives Out series find something new and exciting to add. They’ve been consistently interesting and shocking.
So, stepping into the Paramount for the premiere of the third movie, my hopes were high.
The cast was stacked, with appearances from Josh O’Connor, Glenn Close, Jeremy Renner, and, of course, Daniel Craig. It was set in a Catholic parish with an authoritative leader, Monsignor Jefferson Wicks (Thomas Haden Church), and a new arrival to the community, Jud Duplenticy (O’Connor). When secrets and manipulation are unearthed in Jud’s early days at the parish, a murder accelerates the small community’s unraveling.
Visually, this movie is simply stunning. The church is gorgeous, and the attention to detail is consistent with the standard in every Johnson movie. There is a constant battle between light and darkness, which culminates in the end with a dramatic confrontation. Johnson also lets media and recordings play a part in the reveal, which I thought was tastefully done if not a little on the nose.
The acting is also wonderful. O’Connor is a standout, consistently tying humanity and conflicting ideology to a frantic storyline. He serves as a solid contrast to Craig’s inevitably intense performance. Acting-wise, the weak link for me was Mila Kunis, but her falling through did not diminish the excellence of the film.
I was engaged the entire time, full of anticipation. There were several points during the movie that I audibly gasped. And although I wouldn’t say that the third Knives Out is a horror by any means, it was fast-paced and interesting throughout.
There’s something nice about not being constantly in fight or flight while watching a movie. Having that pump of adrenaline without a lingering fear. It wasn’t gory shock-value that made it so eerie; it was the camera angles, lighting, and acting that kept my eyes wide.
It’s so impressive when a director and actors just melt together, into a story and a flow. Knives Out: Wake Up Deadman, did that seemingly effortlessly. It moved quickly, towards an ending that I couldn’t have guessed even two minutes before the reveal.
Johnson leaves no stone unturned, no lingering questions. In the end, everything is wrapped up neatly. It’s comforting, it’s reliably entertaining.
Although Johnson is taking a break from the franchise, both he and Craig have expressed interest in bringing the series back, as long as the premise stays fresh and exciting.
I’ll be the first to say, keep ‘em coming. I’ve loved every movie in this installment. Theater is such a special ritual, an idea expressed by Johnson during the Q&A after the screening. When asked about his hopes for the newest movie, he commented on the importance of making a fun film that people enjoy and talk about later.
He’s not attempting to change history with the newest movies; he’s just trying to make something that people will enjoy.
This genuine love and respect for movies is evident in his newest film, a wonderful addition to the series and to the mystery genre as a whole.
