Knives Out

You think of it and you see it. You catch Rian plotting something, he catches you back with a grin observing the truth. This goes unmentioned and every second, for two hours.

The writer and director Rian Johnson has all the attention he would want from me. Actually, more than he can imagine. And maybe that is why his film communicates so intensely to me. It has been my whole life watching films and I don’t think ever has a filmmaker outdone himself or herself every time. Every time I go through this mechanical factory of Johnson and I come out with a page of poem in my hand. Johnson’s film is not just good but also impeccably difficult to resist, to dislike. The entire film is the pulp. The scheme. There is no bite. No structure. No sleazy attitude or excuse that tells you, the audience, to go through necessary changes, developments of storytelling and asks you to sit by as it sets every set pieces one by one. From the minute you enter this house, it’s a GO. This high calibered cast is skillfully juggled and stirred with their whisk of borderline offensive humor. You are told to sit in the middle of a dinner table and you are pushed like some prop of a game as these shady rich brats lashes you, charges you with upright white lies formed.. poorly! What? The distractions aren’t distracting enough? Johnson is way ahead in this game. You can’t even see him let alone catch him. He has staged the film within a few days, a short period of time. It’s all temporary. Things, behaviour, intentions flickers faster than a broken tubelight. Just as his films are. You have to be up to date with the current intentions, suggestions, innuendos of the film. For the film is, both politically and wickedly strong. Never preachy but always on the mark. Knives Out is potent, ambitious and inspiring.

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