‘Knives Out’ is a Subversive Whodunnit With a Satirical Bite

After fabulously leaving the Star Wars fandom in flames with The Last Jedi (a blockbuster so complex and thematically rich, it actually inspired me to start writing about movies!), modern genre film icon Rian Johnson is back for another standalone film— and possibly even his last one for quite a while, as he begins develops his own Star Wars trilogy. In his newest outing, Johnson trades a sci-fi fantasy epic for a classic Hollywood mystery with a killer ensemble cast, a luxurious Kentucky mansion, and cozy, expensive-looking sweaters. The brilliance of Knives Out, however, is that Johnson is somehow able to deliver a hilarious, crowd-pleasing whodunnit film, while simultaneously keeping his radical trademark subversive storytelling intact. I suspect it will be quite challenging for any soul to walk out of this film unamused because on both a casual and intellectual level, Knives Out is an absolute knockout. 

Continue reading “‘Knives Out’ is a Subversive Whodunnit With a Satirical Bite”

‘Sorry to Bother You’ Apologizes for Nothing

Boots Riley has asked critics not to spoil his movie, so this is me telling you that I won’t. But if you want to experience Sorry to Bother You in all its glory, I would recommend coming back to this review (and others) after your first go-round.

In a quieter moment within the off-the-wall final act of Sorry to Bother You, artist Detroit (Tessa Thompson) stares up at a giant, vulgar statue, erected haphazardly in the night, that shows sarong-wearing CEO Steve Lift (Armie Hammer) fucking an animal. The statue is lovely in its awfulness, with comically inaccurate proportions and a flimsiness that suggests it might be made of papier-mache. As a crowd gathers to admire the monstrosity, one woman asks, “But what does it mean?” To which Detroit responds, “Maybe the artist is being literal.”

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Tessa Thompson in ‘Sorry to Bother You’ © Annapurna Pictures

While nothing more than a small, satisfying in-joke in the context of the onscreen action, this line is the closest Sorry to Bother You gets to a thesis statement. Like the protest statue, the film is loud, declarative and unsubtle, delightfully surreal yet demanding to be seen for what it is—and like Detroit suggests, that might just be the point. Continue reading “‘Sorry to Bother You’ Apologizes for Nothing”