You have a contract in your soul: a review of the series "Mandalorets"
A sullen Mandalore warrior (Pedro Pascal), who never takes off his helmet (such is the Way), works as a mercenary and gives almost all his savings to his congeners, who,…

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9 best doubles of “stars”, which are almost impossible to distinguish from celebrities
All people like to think that they are unique. And this is really so: there is no second person with the same abilities, thoughts, feelings. But sometimes it happens that…

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Films of 2019. Summary
Summing up the outgoing year, tremblingly recalling the good and closing the door to the bad, as a rule, is easy and pleasant. However, in the cinema of 2019, something…

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Ryan, we have a corpse, maybe postmodern

Get out the knives (2019)
Knives out
detective, drama, comedy, thriller
Director: Ryan Johnson
Cast: Daniel Craig, Ana de Armas, Don Johnson, Jamie Lee Curtis, Tony Collette
Premiere: November 28, 2019
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, the girl naturally pulls to puke).

Shot from the movie “Get the Knives”
While particularly ardent Star Wars fans continue to sharpen 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ideological continuation of his “Brothers Bloom” and, to a lesser extent, the debut “Brick”, films that took seemingly outdated genres and offered new optics for their study.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 beginning of the 20th century, although the action took place directly in the “now.” In “Get the Knives” – a similar situation: referring entourage to the tabloid detective literature of a century ago, the film nonetheless stands with all its feet in the present day.

Shot from the movie “Get the Knives”
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 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, to Ryan – leaves most of the sharp topics only as second shocking 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 for some reason, time and time again rising from the dead – only to be again killed by a deft post-modern attack. “Get the knives” in this regard is reminiscent of not even Johnson’s early work, but such a detective version of “Off,” which did the same, but from a different genre perspective.
Shot from the movie “Get the Knives”
However, just as the conditional horror “Away” turned out to be a lively satirical comedy, so “Detective Knives” should be very selectively taken by detectives. 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 will not observe how a brilliant detective searches 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 ligaments here are very smartly built precisely from the point of view of the genre. But nevertheless – just like in the “Bloom Brothers”, where the frauds were performed somewhere against the background of personal throwings 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 explaining complex concepts through strange metaphors with donuts, and in the conflict a simple emigrant nurse and a rich white family who seemingly took her under their roof, but, obviously, not quite

Shot from the movie “Get the Knives”
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 is 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 lies 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.

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