Knives Out 4K 2019 Ultra HD 2160p
Producer: Rian Johnson
Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, LaKeith Stanfield, Christopher Plummer, Katherine Langford, Jaeden Martell, Riki Lindhome, Edi Patterson, Frank Oz, K Callan.
Knives Out 4K - Harlan Tromby, the famous author of crime novels, turns 85 years old, but the solemn day turns into a bloody one. The body of the old man is found in his estate, and then the charming and meticulous detective Benoit Blanc is taken for the investigation. He faces a difficult task - once and for all to break the shackles of lies and tricks into which he was mired because of Harlan's family and staff.
Knives Out 4K Review
The day after a party in honor of the 85th anniversary of the famous writer Harlan Tromby (Christopher Plummer), he is found dead in his own bed. Everything indicates suicide, and a large grieving family is already preparing to share the state left by the old man, but suddenly someone - not sure, apparently, of Tromby's ability to voluntarily part with his life - anonymously attracts the famous detective Benoit Blanc (very funny Daniel Craig). Having talked with all family members, he takes as his partner the nurse of Harlan from an undetectable Latin American country, Marta (Ana Armas), who physiologically does not tolerate all lies (when trying to lie a girl naturally pulls to puke).
While particularly ardent Star Wars fans continue to grind fangs on Ryan Johnson for his Last Jedi and controversial tweets, the director tactfully retreats from the big franchises and returns to the post- / metamodernist fun from the time of his first work. "Get the Knives" is a direct ideological continuation of his "Brothers Bloom" and, to a lesser extent, the debut "Brick", films that took seemingly outdated genres and offered new optics for their study. In "Brick", the world of schoolchildren, isolated from the influence of adults, for some reason worked according to the rules of the real noir. In The Bloom Brothers, the characters looked and acted as if they were in an adventurous novel of the early 20th century, although the action took place directly in the "now." In "Get the Knives" - a similar situation: the entourage referring to the boulevard detective literature of a century ago,
Next to the detective in a tweed jacket, a kind of Kentucky Hercule Poirot with a southern accent and for some reason a French name who smartly walks around the family home of the times of "old America", Johnson puts on hilarious talk about Trump, jokes about SJW and Internet Nazis ( and an unexpected reference to "Baby Drive", for which special thanks). All of this (except for sending), given the director's fame as a very political person, could easily turn into a parade of awkward leftism, but "Get the knives" - with an unusual tactic, I must say, Ryan - leaves most of the sharp topics only as second shock jokes. And he brings to the center one and only one: the decline of that very "old America", which seems to have been buried by Hollywood for a long time, but over and over again for some reason rising from the dead - only because to be killed again by a clever postmodern attack. In this regard, "Get the Knives" is reminiscent of not even Johnson's early works, but such a detective version of "Off," which did the same, but from the perspective of a different genre.
However, just as the conditional horror "Away" turned out to be a lively satirical comedy, the detective patterns should be very selectively taken out "Get the Knives". Johnson's film is largely anti-detective: the murder itself will be shown to us in all the details in the first half, and the rest of the time we'll watch not a brilliant detective looking for a pimple on an elephant's body, but a suspect who is comically trying to steal evidence from under the detective's nose. Of course, there will be a plot twist, and the detective will get his chance for the final explanatory monologue in the spirit of Agatha Christie, and the setup-punchline bundles here are very smartly built precisely from the point of view of the genre. But nevertheless - just like in "The Bloom Brothers", where the scam was turned somewhere against the background of personal throwing of the hero Adrian Brody, Johnson's focus is not on the riddle "who is the killer?" and not on the extraordinary personality of the bloodhound,
The Trombie couple here is a kunstkamera of conservative vices, either a passive, or an actively aggressive pack of greedy, hypocritical capitalists, whom the director is very pleased to scoff at (and, to be honest, he mocks him). The decision to make this pack so recognizable seems almost conceptual - both archetypally (here you are almost screaming Trump slogans Don Johnson, the equally caricatured liberal Tony Collett, the hopeless businessman Michael Shannon and the arrogant "major" Chris Evans), and the corny actorly: behind each mask is a first-tier lyceum, which is why morality about the snickering America is somehow read especially convincingly.
Ryan Johnson, however, outlines another topic in the film, not at all political and much more interesting purely culturally. The action "Get the Knives" takes place around the death of a writer who made a name for himself in detective novels - the movie itself seems to be happening somewhere inside one of his possibly not yet written books, and the alleged murder involves artifacts copied from pages invented by him stories. Art copies life, which copies art, which, in turn, does not copy anything - this is how Johnson opens up the most interesting question about the relationship between myth and reality. He already raised it in the "Bloom Brothers", devoted entirely to this topic (the hero Brody there dreamed of starting to live a "non-invented life"), but then, perhaps, he tortured meanings for too long. In "Get the Knives," the opposite problem is
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