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New Escapist Column! On the Inevitability of a “Knives Out” Sequel…

I published an In the Frame piece at Escapist Magazine on Monday, to mark the news that Knives Out would officially be getting a sequel.

To be fair, this news was hardly a surprise given the box office success of the film. With a tiny budget, Knives Out managed to gross over three hundred million dollars worldwide. Even before the sequel was officially announced, it seemed inevitable. And it will most likely be another great time at the cinema. At the same time, though, it’s hard not to feel like the proper way to celebrate the success of Knives Out might not be to start producing Knives Out sequels en masse, but instead to simply make more movies like Knives Out.

You can read the piece here, or click the picture below.

“So, Your Son is a Nazi”: Modern Hollywood’s Weird Fixation on Feel-Good Stories About Fascists…

JoJo Rabbit is supposed to be an “anti-hate satire”, but what exactly is it satirising?

To be fair to director Taika Waititi, JoJo Rabbit is a well-made and charming crowd-pleaser. It manages something genuinely impressive, offering a feel-good coming of age comedy set against the backdrop of Germany in the dying days of the Second World War. It belongs the awkward, saccharine genre that produced films like Jakob the Liar or Life is Beautiful or The Day the Clown Cried. It is impossible to overstate how thin a razor blade Waititi is dancing, and how remarkable it is that he maintains his balance. The film never feels too sombre or too dark, but never as tasteless as something like The Book Thief.

Of course, Waititi largely manages this through cinematic sleight of hand. He avoids dwelling too heavily or for too long on the victims of fascist oppression in Nazi Germany. JoJo Beltzer finds a young Jewish girl hiding in his attic, but the film never details the horrors of the Final Solution. The characters are repeatedly confronted with the sight of bodies hanging in the public square, but the camera never really lingers on them. Instead, it focuses on JoJo’s reaction to them. The audience’s gaze is fixated on his gaze. The question isn’t how the audience feels about the horror, but how they feel about how JoJo feels.

This raises an interesting and slightly unsettling question about the recent wave of Hollywood films exploring the emergence of the modern extreme right and the resurgence of fascist ideology. Who exactly are these films for? What is the intended audience of JoJo Rabbit, and what exactly is it saying to them?

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New Escapist Column! “Knives Out” and the Suggestion that the Rich are Not So Sharp…

I published a new In the Frame piece at Escapist Magazine this evening. This one covers something that I’ve wanted to talk about for a little while, which is the interesting aspect of this year’s recurring theme of class warfare that runs through works as diverse as Joker, HustlersReady or Not, Succession, Parasite and Knives Out.

To be fair, it is not unusual to see this sort of tension playing out on the big screen. After all, American cinema has long been fascinated by working class con men and hucksters getting one over on the wealthy establishment. However, what distinguishes the recent crop of media exploring this theme is the recurring suggestion that the wealthy are not especially sharp. Historically, the rich have been portrayed as canny and suave – often dangerous adversaries because of their ruthlessness and relentlessness. What is interesting about the class warfare dimension of this year’s films is the way in which money and success often seem to have coddled the wealthy leaving them surprisingly naive and foolish despite their arrogance and privilege.

You can read the piece here, or click the picture below.

Non-Review Review: Knives Out

Knives Out is a sharp and point “whodunnit” for the post-truth era.

The most obvious point of reference for Knives Out is the work of Agatha Christie, although the film itself includes allusions to CSI, Murder, She Wrote and other generic procedural television show. There is a mysterious death inside a luxurious mansion, with a wealthy family who seemed ready to tear themselves apart even before the loss of their patriarch. An outside investigator finds himself drawn to the case, which begins to unravel as he follows each of threads back towards something resembling the truth.

Drawing a Blanc.

The beauty of Knives Out lies in the way in which writer and director Rian Johnson takes the familiar framework of a mystery story and allows it to descend into anarchy. Knives Out is constantly twisting and turning, zigging and zagging. Nothing is ever what it appears to be, and as more evidence comes to light it seems like nobody has any real idea of where the truth actual lies – including both the dogged private investigator trying to fashion order from chaos and even the killer themselves. Knives Out often feels like a wry, clever thriller about how nobody knows nothing.

In other words, Knives Out is the perfect murder mystery for this particular moment, in every possible way. This extends beyond the films obvious topical allusions and central themes, and is even woven into the manner in which the story unfolds.

To coin a phrase…

Note: This review will contain (or even allude to) very basic spoilers for Knives Out. Nothing too big or too specific. However, if you don’t want to be spoiled and are just here for the headline: Go see it. Then come back and read the review, if you want. Continue reading