[Early Review] [Dark Star Festival] Climate of the Hunter (2019)

Director: Mickey Reece
Cast: Mary Buss, Ginger Gilmartin, Ben Hall
Screenplay: Mickey Reece, John Selvidge
82 mins. Not Rated.

Recently, I was able to virtually attend the Dark Star Festival, where I was treated to several new and upcoming releases. While I was not fortunate enough to catch all the films that played, I was able to see Climate of the Hunter, a low-budget horror film with a lot of style and a unique filmmaker behind the camera. Today, let’s take a look at this “vampire” film and see if it’s worth hunting down.

Climate of the Hunter is a small story, mainly concerned with two sisters, Elizabeth (Mary Buss, Lord Finn, Camp Cold Brook) and Alma (Ginger Gilmartin, Fingerprints, Hosea) as they meet up at a cabin to reunite with an old friend they’ve not seen for twenty years, Wesley (Ben Hall, Gosnell: The Trial of America’s Biggest Serial Killer, Adventures of Rufus: The Fantastic Pet). As Elizabeth and Alma each try to gain the romantic interest of Wesley, Alma begins to suspect that he is a vampire.

There’s little new in terms of story for Climate of the Hunter (it almost feels like a mumblecore vampire film in the simplest terms), but the real impact of the film is in its director, Mickey Reece (Strike, Dear Mistress, and Cure His Heart, Arrows of Outrageous Fortune) and his uncanny ability to present a simple and easily accessible story within the confines of a gorgeously atmospheric dreamscape of a film. Reece has crafted a visually arresting world here that is unlike much of what I’ve seen before, even though the film’s cinematography evokes elements of 1970s horror cinema in its execution. There’s also bits of Napoleon Dynamite-like meal platters and bits of dialogue that seemingly misdirect viewers in the narrative. It’s almost like a hangout movie mixed with gothic horror to great appeal, but it never feels like it’s trying to be smarter than its audience. Though full of dreamlike, striking imagery, it isn’t attempting to go over your head, at least for the most part.

Where the film ultimately stumbles for me is in its climax and closing moments, for I was quite enthralled by most of the story up until that point. I felt like the narrative was driving us somewhere captivating and unusual for its finale, I ended up being quite let down by an easily guessable, underwhelming end that left a sour taste in my mouth, and not in any way that works. It’s an ending that we’ve seen before, and it never seems to work for me. It’s also an ending that leans away from the atmosphere that the whole film has been building to. It’s just all-around a disappointing way to complete a journey like this one. I won’t go as far as to say that it is a bad ending or that it ruined the film. It just lessened the impact of the movie drastically.

Climate of the Hunter works until it doesn’t. Thankfully, it works for the first 90%, and the swift run time allows for a less-than-stellar ending to not fully detract from the overall experience of the film. It also gets my recommendation. It’s a weird, wild, surreal, and memorable movie that makes a hell of a case for its crew. Mickey Reece is a director to keep an eye out for, and Climate of the Hunter is a strong outing, for the most part.

3.5/5
-Kyle A. Goethe

[Early Review] Sound of Metal (2019)

Director: Darius Marder
Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Mathieu Amalric
Screenplay: Darius Marder, Abraham Marder
130 mins. Rated R.

Sound of Metal has had a long road on the way to being completed. Initially Derek Cianfrance had been working on a film called Metalhead, described as a docufiction, which has languished in post-production since 2009. That film will likely not see the light of day anytime soon, so one of the writers of that film, Darius Marder (Loot), has instead stepped into the director’s chair with a complete reworking of that film’s story from the ground up, crafting a new movie from the bones of Metalhead, with Cianfrance’s blessing. There was also a previous attempt at making this film in 2015 with a completely different cast, and now, after premiering in the film festival circuit last year, Sound of Metal is finally dropping on Amazon Prime in December. It’s been a long road, so is the movie any good?

The film stars Riz Ahmed (Nightcrawler, Weathering With You) as Ruben, a drummer touring the nation with girlfriend and band mate Lou (Olivia Cooke, Ready Player One, Life Itself). Through several nightly concerts, Ruben begins experiencing sudden spurts of hearing loss. Ruben also learns that the cost of implants to save some of his hearing is going to run tens of thousands of dollars, money he doesn’t have. The stress of losing his most important sense has Ruben contemplating drug use again, so his sponsor sets him up at a rehab clinic for the deaf, where he begins a journey of discovery in a world without sound.

Sound of Metal is a character piece, through and through, and it doesn’t work if its central character doesn’t work. After many notable supporting roles, Riz Ahmed kills it as Ruben. There are a lot of emotional beats in this performance, from Ruben’s anxiety and stress to his emotional loneliness while at the rehab home, and in his frustrations in trying to communicate in a world without sound. Not to mention Ruben’s contemplation over drug use after years of being clean. There’s a lot happening in Ruben’s head, and then taking away the character’s ability to hear and interpret conversation in the way he is used to needs to come across realistically. Ahmed is able to handle all of these factors in a performance that is equal parts bombastic and subtle, creating a well-rounded character that isn’t always likable but always captivating.

The rest of the supporting cast is quite strong as well, most of it made up of a largely deaf group of actors. They add layers of realism to the world and help to elevate Ahmed’s performance. I was quite fond of Olivia Cooke’s work as Lou. She disappeared into the role so seamlessly that I didn’t even realize it was her, thanks to a strong level of makeup and costuming with her character. Then there’s Paul Raci (No Ordinary Hero: The SuperDeafy Movie, She Wants Me) as Joe. I don’t think I’ve seen Paul Raci in a performance before, but he was wholly captivating, and his chemistry with Ahmed was incredibly strong. Their scenes ranged from emotional to heated and sometimes both at the same time, and I was taken in by it all. All of these players just added to the sense of realism at play here.

Marder’s film does not try to dazzle with unique cinematography, it isn’t showy in its execution, but where it does stand out, from a technical perspective, is in its exemplary sound design. The way in which the sound is given to us as viewers and then taken away to put us in Ruben’s headspace is some truly powerful work in forcing us to confront the problems he is encountering with him. This element, combined with the choice not to utilize subtitles for the ASL scenes until Ruben begins to understand them help to put us in the character’s shoes in a way that left me in awe.

Sound of Metal is a hard watch, I’m not aching to see it again, but Darius Marder’s film really drives home life’s way of surprising us. It’s a story about coming to terms with unpredictability on our individual journeys, and for me, it broke my heart to see Ruben consistently struggle throughout the film. It’s an introspective movie, one that I very much recommend.

3.5/5
-Kyle A. Goethe

[31 Days of Horror Part VII: The New Blood] Day 6 – Darlin’ (2019)

Director: Pollyanna McIntosh
Cast: Lauryn Canny, Bryan Batt, Nora-Jane Noone, Cooper Andrews, Pollyanna McIntosh
Screenplay: Pollyanna McIntosh
100 mins. Not Rated.

A few years back, I saw the film The Woman, not even aware of the fact that it was a sequel. This is the risk sometimes with not including a 2 in the title, but then again The Woman is a rather different film than its predecessor, Offspring. You don’t really have to have seen Offspring to understand The Woman. I recall really not liking The Woman for quite a number of reasons, and when the opportunity finally arrived to catch Offspring, I figured it was worth a try, and hey, it might make me like The Woman more. It did not. Offspring just didn’t work for me either, but I remained vigilant, and when news spread of a third film, this one titled Darlin’, I knew I had to see it, because this is what I do. I’m curious…like a cat, and I needed to see if this third film, written and directed by series star Pollyanna McIntosh (Deathcember), would finally win me over.

Set some time after the events of the previous film, the missing girl Darlin’ (Lauryn Canny) has been found outside of a local hospital and taken to St. Philomena’s, a Catholic boarding school, to be reformed from her feral personality. As Darlin’ begins to see her human traits returning, she tries to put together elements of her past in her search for salvation. But St. Philomena’s isn’t a safe place, as Darlin’ soon realizes. The Bishop (Bryan Batt, Easy Does It, TV’s Mad Men) is a child molester who has set his sights on Darlin’, and the Woman (McIntosh) is searching for her as well.

I’m sad to report that Darlin’ is a bad movie. I was really hoping this time around to get something from this film and franchise, but it just hasn’t won me over. It seems that each film tries to ask some interesting questions and mine the story for something fascinating and unique in the unusual characters and events, but they never really go anywhere. Of course the Bishop is a pedophile. Of course Darlin’ finds a rebellious new friend at St. Philomena’s. Of course, the ending it exactly what I expected. It’s a frustratingly simple narrative that always feels like it’s going somewhere only to abandon the journey along the way.

The tone is another misfire here, but it was a problem for The Woman as well. This is a horror story. If it was told with less of a satirical viewpoint, I think it would have been stronger. Lean into the horror. This whole trilogy deals with some fucked up characters and plot points. Treat it like a horror story and it might actually feel like one. Instead, there are these little flashes of attempts at humor that took me out of the film and lost my focus.

Sadly, Darlin’ just another film in this franchise that does nothing for me. It squanders an initially interesting setup by falling into cliche and not taking the material seriously. It sits at the edge of fascination but never leaps into compelling storytelling, and I just didn’t enjoy any of it. It’s a downright bad movie in a franchise that has gone on longer than necessary.

1.5/5
-Kyle A. Goethe

  • For my review of Andrew van den Houten’s Offspring, click here.
  • For my review of Lucky McKee’s The Woman, click here.

Hustlers (2019)

Director: Lorene Scafaria

Cast: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Cardi B

Screenplay: Lorene Scafaria

110 mins. Rated R for pervasive sexual material, drug content, language and nudity.

 

I recall the surprise that surrounded Hustlers when it turned from a movie that no one really had much faith in to a critic-beloved darling of a film. It was so shocking to find that it wasn’t garbage, and I was suddenly interested in seeing it after thinking it looked it absolute garbage. I did get a chance to actually see the movie, and I was surprised, but how?

The year is 2007, and stripper Destiny (Constance Wu, Crazy Rich Asians, TV’s Fresh Off the Boat) is working to make money and support her grandmother when she meets Ramona (Jennifer Lopez, Gigli, Second Act), an experienced stripper who seemingly captivates everyone in the audience. The two women form a close friendship and things go well for awhile, until the financial crisis forces them to reevaluate their plans. Destiny is invited to join Ramona and two other women as they hunt down rich men, seduce and drug them, and take their money. This plan is quite successful, but like all stories of crime, this one is headed for an unfortunate ending.

Let me start out by saying that, overall, I think it’s a good movie. I’m not praising it as an Oscar-worthy film by any means, but it’s good. I think director Lorene Scafaria (Seeking a Friend for the End of the World, This is Heaven) does the real standout work here. Her film has a style that is quite engaging, taking a story that I feel is a little simple and turning it into something more fascinating. Her screenplay showcases a group of women that become selfish Robin Hoods, robbing the rich and keeping it for themselves until they become the very people who they target. It’s a fascinating story, even if it falls into cliche as it goes on.

The cast, particularly Wu and Lopez, do quite well in showing the radicals of women in their situation, desperation to greed to desperation again. Wu and Lopez have solid chemistry together and they’re both engaging onscreen. The less said about Lizzo (UglyDolls) and Cardi B’s performance, the better though.

Stripping is a talent and skill, and in order for the film to work, the stripping scenes had to be authentic, and it appears that the cast was trained well in translating this skill to the screen with precision. Lopez took this very seriously, even installing a pole at home and visiting strip clubs with her husband to research.

Hustlers is a fun little crime thriller with some front-and-center solid work from Constance Wu and Jennifer Lopez and solid direction from Lorene Scafaria. The script is a little lackluster but overall, this is a fun experience that surprised me by being good at all, and I’m fine with good.

 

3/5

-Kyle A. Goethe

[#2020oscardeathrace] Walk Run Cha-Cha (2019)

Director: Laura Nix

Cast: Chipaul Cao, Millie Cao, Maksym Kapitanchuk

Screenplay: Laura Nix

20 mins. Not Rated.

  • Academy Award Nominee: Best Documentary Short Subject [PENDING]

 

Walk Run Cha-Cha is another Oscar-nominated short doc, this one a bit lighter fair than the others, focused on a couple, Paul and Millie Cao, who suffered in their younger years dealing with the fallout of the Vietnam War, who have now discovered, in their older years, an affinity for dancing.

This short documentary, written and directed by Laura Nix (The Politics of Fur, Inventing Tomorrow), chronicles both Paul and Millie’s background, the journey that brought them together, that brought them to America. It also looks at what brought them to dance, a mutual love they have both found. Initially, the doc, while entertaining and interesting, seems a little simplistic. Why this doc short for the Oscar?

It’s only upon seeing the climax that Nix builds the story to, a choreographed presentation made by this couple that accentuates their craft, their feelings for one another, and their feelings toward the dance. It’s a powerful, moving, and beautifully shot sequence that drives the whole film home in an elegant and memorable way.

Walk Run Cha-Cha does not reinvent the wheel, but it’s a moving and beautiful story that showcases a love that we should all hope to achieve in life. Aided by terrific pacing and an interesting set of subjects, this is a lovely story worth watching.

 

4/5

-Kyle A. Goethe

[#2020oscardeathrace] Life Overtakes Me (2019)

Director: John Haptas, Kristine Samuelson

Cast: Henry Ascher, Nadja Hatem, Mikael Billing

39 mins. Not Rated.

  • Academy Award Nominee: Best Documentary Short Subject [PENDING]

 

Okay, I’ll be real. I didn’t know anything about Resignation Syndrome. This was all new to me, and in that way, Life Overtakes Me was a real learning experience.

Life Overtakes Me, from directors John Haptas and Kristine Samuelson (Tokyo Waka, Barn Dance), chronicles refugees searching for sanctuary and the children dealing with the trauma caused by uncertainty. The children in these families have internally shut down into a sleep-like state, almost comatose, and the documentary shows how the families are forced to deal with the situation and pray for the best.

As I said above, I’ve never heard of Resignation Syndrome until seeing this, and it’s both an interesting view at this condition and also perhaps a little too simplistic of a look. It doesn’t delve deep enough to really be effective, but I was quite interested in the subject material. I just wanted more.

Life Overtakes Me was effective in breaking my heart, and I think it’s a very timely piece. Especially now, in America, looking at the way our country treats newcomers and people looking for safety and security in a new land, this short absolutely sickened me. I keep thinking about our borders and all the children dealing with trauma and it haunts me.

This short film, while not as in-depth as I would have liked, was still a strong viewing experience. Hell, it’s on Netflix, you have no excuse to ignore this 40-minute lesson in something I doubt many people even know of. Check this one out when you can. It’s worth you time, and it may just get you thinking.

 

3/5

-Kyle A. Goethe

 

[#2020oscardeathrace] For Sama (2019)

Director: Waad Al-Kateab, Edward Watts

Cast: Waad Al-Kateab, Hamza Al-Kateab, Sama Al-Kateab

96 mins. Rated TV-14.

  • Academy Award Nominee: Best Documentary Feature [PENDING]

 

There’s been a lot of cinema in recent years about the conflict in Syria, and many documentaries have presented unique filmmaker voices spread across the area. One of the more recent and unique voices comes from filmmaker Waad Al-Kateab, who documented her life in Syria from 2012 to 2017, from falling in love to getting married to having a child, Sama. The film is made as a video journal intended for Sama to understand exactly what Waad and husband Hamza had to get through in order to survive.

This is another hard-hitting documentary look at the situation in Syria. It was incredibly hard to watch, much as the other documentaries have been, but this one was all the more effective because it follows life, day-to-day, and families, or the potential fracturing of family. I cannot begin to understand the world that Waad and her family existed in, the kind of difficult choices that had to be made in order to survive and live. People need to be able to live their lives, or life just isn’t worth living, and the love letter that Waad tells to her child is so tense and frustrating.

For Sama is an excellent time capsule from Syria, a tale of family, that is jarring and painful to watch, but it contains small moments of beauty as well. The film runs on a little long, even for an 86-minute film, but it works quite well at examining Syria from a different viewpoint. Check it out when you can, the film can be discovered for free care of PBS.

 

3.5/5

-Kyle A. Goethe

[#2020oscardeathrace] Honeyland (2019)

Director: Tamara Kotevska, Ljubomir Stefanov

Cast: Hatidze Muratova

86 mins. Not Rated.

  • Academy Award Nominee: Best International Feature Film [PENDING]
  • Academy Award Nominee: Best Documentary Feature [PENDING]

 

Fun little bit of Oscars trivia for you. No film has ever gotten nominations for both Best International Feature Film and Best Documentary Feature…until Honeyland. There, you learned something reading this review.

Honeyland was filmed over the course of three years, chronicling the story of Hatidze Muratova, a women living in the wild mountains of Macedonia and operating an ancient beekeeping lifestyle, one that seems to be based on a symbiotic relationship between humans and bees. By not taking more than is necessary, she is able to successfully maintain an almost endless supply of honey, but when a family moves into the area nearby and attempts to get in on the honey money, Hatidze finds her world forever changed.

Honeyland is a powerful view of a world I’ve never seen. Hatidze’s world at the beginning is nicely juxtaposed with her world after the moving in of the new family, who seem to not understand this symbiotic relationship with the bees that Hatidze gains from. It features some of the most incredible real footage of her world in Macedonia.

Directors Tamara Kotevska and Ljubomir Stefanov spent three years recording footage and molding it to fit this fairly-tight narrative, and that intimate closeness between the directors and their subjects creates a truly in-depth and emotion-laden story. It was heartbreaking to see Hatidze dealing with her ailing mother while simultaneously striving to survive her work and the competing work of the new family.

Honeyland is very worth watching. It’s one of the best documentaries of the year and also one of the best international films of the year. I highly suggest you take this spiritual journey of a woman and nature and check the film out as soon as possible.

 

4/5

-Kyle A. Goethe

[#2020oscardeathrace] Maleficent: Mistress of Evil (2019)

Director: Joachim Rønning

Cast: Angelina Jolie, Elle Fanning, Chiwetel Ejiofor, Sam Riley, Ed Skrein, Imelda Staunton, Juno Temple, Leslie Manville, Michelle Pfeiffer

Screenplay: Linda Woolverton, Micah Fitzerman-Blue, Noah Harpster

119 mins. Rated PG for intense sequences of fantasy action/violence and brief scary images.

  • Academy Award Nominee: Best Achievement in Makeup and Hairstyling [PENDING]

 

I was genuinely interested in Maleficent when it came out back in 2014. I liked the idea that Disney was taking a different route with their live-action adaptations by focusing on the villain. It’s an overall rough move, but I admired the attempt. Unfortunately, that was all for naught, as Disney merely decided to make Maleficent (Angelina Jolie, Girl, Interrupted, Kung Fu Panda 3) into the hero and make the King an evil bad guy. It was a disappointing move that essentially turned Maleficent into a film that didn’t work. Now, some years later, Disney is going back into the world of Maleficent with a sequel, and to be fair, the trailers seemed quite intriguing. But would Mistress of Evil be a course-correction, turning Maleficent into the villain we all know her to be, or is this another misfire?

Five years have passed since the death of the evil King Stefan, Maleficent has been protecting the Moors with Aurora (Elle Fanning, Super 8, A Rainy Day in New York) serving as Queen. When Prince Phillip from Ulstead proposes marriage to Aurora, Maleficent is forced to play nice when meeting Phillip’s parents, King John and Queen Ingrith (Michelle Pfeiffer, Hairspray, Avengers: Endgame). That plan goes south when Ingrith creates toxicity at their first dinner together, manipulating the situation to make Maleficent look like the evil creature that the people of Ulstead believe her to be. She flees but is attacked by Ingrith’s soldiers and is injured, rescued at the last second by a winged creature who looks similar to her. Now, with Maleficent in hiding and Ingrith twisting the narrative, it would appear that there’s no stopping an all-out war between the humans and the magical creatures, and it’s up to Maleficent to stop it.

Apart from the obvious question of “Who Was Asking for Maleficent 2?” comes the realization that, to a lesser extent, this follow-up repeats the same mistakes as the original. Again, we have a marketing campaign selling us on Maleficent, the Mistress of Evil, one of the greatest villains in history, and the movie is Maleficent Lite, the “Diet Coke of Evil” as Mike Myers once put it. Yet again, we have an opportunity to see a hero turn to darkness, and yet again, the decision is made to keep her heroic. This film rides the line a little better than before, but it still keeps Maleficent heroic.

The performances are all just fine, specifically Jolie, Fanning, and Pfeiffer, but I feel like the writing for Queen Ingrith intrudes on Pfeiffer’s performance, making her a little mustache-twirly at times. I don’t get her motivation as a villain considering how the first film framed Maleficent, and I need more from her character to showcase why she has it out for Maleficent.

Outside of all that, some of the action is fun even though this movie is so CGI-heavy that it’s tough to take any of it seriously. The CGI is just a little too glossy. It’s enjoyable enough, and what can I say, it’s a better movie than its predecessor, but not by much.

Maleficent: Mistress of Evil is a poor title for this film considering Disney isn’t actually willing to make a story about the real villain and chooses to sugarcoat this story making the villain into the hero…yet again. It’s disappointing because this sequel just feels like broken promises stretched into two hours. I think there are people that will enjoy it, and I believe it is a wholly better film than the first one, but I don’t think we need this franchise to continue.

 

2.5/5

-Kyle A. Goethe

 

 

For my review of Robert Stromberg’s Maleficent, click here.

[#2020oscardeathrace] Knives Out (2019)

Director: Rian Johnson

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer

Screenplay: Rian Johnson

131 mins. Rated PG-13 for thematic elements including brief violence, some strong language, sexual references, and drug material.

  • Academy Award Nominee: Best Original Screenplay [PENDING]

 

When it was announced that writer/director Rian Johnson (Looper, Star Wars: The Last Jedi) would be making a murder mystery before returning to helm a trilogy of Star Wars films (I’m still convinced this will happen, but maybe it’s just my wanting), I was shocked but rather interested. After all, the subgenre of Agatha Christie-inspired murder mysteries had kind of dried in recent years outside of adaptations of her work like Murder on the Orient Express. Rian Johnson, who had dealt in the mystery genre several years earlier with Brick, seemed like the perfect choice to restart this once beloved subgenre, and I was all for it.

Famous crime novelist Harlan Thrombey (Christopher Plummer, Beginners, The Last Full Measure) is dead. The death has been ruled a suicide, but someone unknown has hired the last great sleuth, Benoit Blanc (Daniel Craig, Casino Royale, Logan Lucky) to investigate. It would seem that Harlan had no true friends within his family, and each of them has a motive strong enough to be a suspect, but just who did it? As lies are created and truths are uncovered, the family is turns on one another, and it’s up to Blanc to find the donut hole, the missing piece of the story.

Where to begin with this film? First off, we have to address Johnson’s tone for the film. It’s fun, sarcastic, stylish, and engaging. He sets most of the action in one location, Harlan’s mansion, a gorgeously-designed set that I just wanted to spend more time in. There are homages all throughout the mansion designed to invoke that classic mystery theme. Plus, it’s just a damn creepy house. Beyond that, the house and the characters residing in it feel real within the universe Johnson has constructed. The house feels lived-in. The characters feel like they have long lists of experiences to pull from. Everything fits, like puzzle pieces expertly placed to give a  clearer image and a staggering conclusion.

Daniel Craig leads the cast as Blanc with a truly molasses-mouth scene-chewing take on his character that is set to become iconic in years to come. His mannerisms, speech patterns, and physicality make Benoit Blanc a treat to be with, and that’s much like the mansion. I wanted to spend time with these characters. Not in the way that they are friendly, but in the way that they are fun to watch.

Each of the members of Thrombey’s extended family is like a slightly-damaged, partially-fractured chess piece arranged on a board, and Johnson is playing against himself. I was primarily taken with Ana de Armas (Blade Runner 2049, The Informer) as Marta, Harlan’s nurse, who feels alienated within the family even though they all claim that she’s a part of it. Then there is Harlan’s daughter Linda (Jamie Lee Curtis, True Lies, Halloween) and her husband Richard (Vault, TV’s Miami Vice), who play very well on their own but have a dynamite chemistry when put together.

In fact, the cast is pitch-perfect, and there’s no real time to talk about all of them, but I have to give a shout to Chris Evans (The Avengers, The Read Sea Diving Resort) as Ransom, Harlan’s grandson, the loud-mouthed privileged youth who obviously has no friends within the family. Evans plays against-type when compared to his decade as Captain America with Ransom, and it’s a welcome return to the smarmy roles he was once more well-known for.

If there’s a flaw in the film, and I do believe there is one for me, it’s that certain reveals in the film happen far earlier than I would have liked, and I think the mystery would have been stronger if we were kept wondering for longer. That, and I personally was able to see where it was going a little earlier than I would’ve liked. Perhaps I was just good at guessing, as I’ve spoken to others who did not see the end coming. My suggestion would be not to try and unravel the mystery, but instead, enjoy the journey, because it’s a damn good one.

Knives Out is an elegantly-constructed Whodunnit with incredible performances, great production design, and a director at the helm who really understands story and tone. This was enjoyable as hell and I cannot wait to see it again. Rian Johnson’s Knives Out comes highly recommended.

 

4.5/5

-Kyle A. Goethe

 

 

For my review of Rian Johnson’s Star Wars: Episode VIII – The Last Jedi, click here.

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