Tag: lakeith stanfield

Knives Out


Knives Out (2019)
★★★★ / ★★★★

The funny thing is, for a whodunit picture, it is not difficult to figure out the person, or persons, responsible, directly or indirectly, for killing Harlan Thrombey (Christopher Plummer), a renowned mystery novelist who has so much wealth, his grown children cannot help but to act like vultures even before his barely cold body is in the ground. Needless to say, it is also not at all a challenge to determine the motive for the murder. The joy, however, is embedded in the question of how. The answers are so specific and executed with so much vitality that when they are revealed eventually, they kind of just take your breath away. This is the writer-director Rian Johnson that I know, the mind behind inspired works like “Brick” and “Looper.” He is in top form here.

Funnier still is that the more I tried to answer the questions using only my brain, substantive solutions prove to become more elusive. Therein lies its source of enjoyment: Because Johnson is aware that we will approach the puzzle in this manner, he must create enough kinks in the screenplay that upends our expectations. It seems we are dealing with an ordinary mystery—and in plenty of ways it is—but it is far more self-aware than it purports itself to be. Even those most experienced with mystery stories are likely to have a ball with this.

We are introduced to a slew of colorful characters with abrasive personalities—every one of them suspicious. There is, of course, Harlan’s children: eldest Linda (Jamie Lee Curtis) who found success in the real estate business and youngest Walt (Michael Shannon) who functions as the acting CEO of his father’s publishing company. The middle child, Neil, passed away years prior, but his spouse Joni (Toni Collette), a lifestyle guru, remains highly connected to the family. The expertly paced initial interview shows us three facts: 1) their relationship with the deceased is strained but complex, 2) they are capable of lying—even though they may not be very good at it, and 3) they are hardwired to protect the family legacy. Putting on a successful front is an absolute must; when it is threatened, they react as though it is a national calamity. Clearly, these people, including their offsprings (Chris Evans, Katherine Langford, Jaeden Martell), are born and bred in privilege. It is the only lifestyle they know.

The investigation is led by Detective Elliot (Lakeith Stanfield) and he is supported by private detective Benoit Blanc (Daniel Craig). I wished the former had more of the central role in the case despite the latter’s sterling reputation as an investigator. I did not get a definitive impression of how Elliot thinks, specifically his style of deduction. It would have been preferred to show the duo working together, even clashing on occasion. Blanc, on the other hand, is full of personality. He is attentive, quick-witted, and amusing in the way he underplays his dry sense of humor. When he speaks, it is often to make a point. And when he is silent, well, he remains a presence. He is the type of person with whom you wish to know his take. Craig plays Blanc with gusto, charm, and urgency. It is one of his more memorable roles in a while.

Another crucial piece of the mystery involves Harlan’s nurse named Marta (Ana de Armas). From a Latin immigrant family, she is our conduit to the Thrombey’s posh bubble. The script is peppered with timely social commentary in regards to how white folks of privilege tend to look down on ethnic minority groups by way of kind words and actions. “You’re almost like a part of this family.” We are meant to cringe and feel uncomfortable. And laugh, too, at its honesty.

The intelligently written and thoroughly entertaining “Knives Out” never betrays the audience despite numerous high-stake left turns. It invites the viewers to look closely, to recognize possible red herrings, to understand how characters think and predict how they might respond. We hang onto every line because a clue may be lodged in there.

Sorry to Bother You


Sorry to Bother You (2018)
★★★ / ★★★★

One can tell that “Sorry to Bother You” is made by a first-time writer-director because it is willing to utilize a variety of techniques, from claymation and voiceovers to hallucinatory imagery and coming into contact with an entirely different genre, to get a range of laughs—big laughs—from the audience. Even though these tools do not always work, sometimes the courage to employ them is what counts because they shake the boredom out of some of the more familiar avenues of the plot, particularly in portraying the rift between our protagonist and his friends as he begins to climb the corporate ladder of telemarketing.

The picture is written and directed by Boots Riley who possess an exciting eye for detail. Shot on location in Oakland, California, he is willing to show the more unsightly areas of the city, how colors and life dominate even the poorest of neighborhoods. Graffitis on walls often have a political message, signs on the streets are clever, and even jewelries worn offer their own personalities. Notice how the extras who must utter a line or two of taunts while off-camera sound exactly like residents of Oakland. So, you see, although certain images are initially unattractive, like unmowed laws and unpicked garbage on sidewalks, there is beauty in its honesty and simplicity. The film is a comedy in which the setting is vibrant and real.

This is important because the material is a satire, often embracing extremes in order to deliver a punchline. The setting, more than the story or the performances, anchor the film in something that is true and relatable. And so when the plot and tone undergo wild fluctuations, viewers are less likely to feel lost, confused, or frustrated. Unlike Hollywood mainstream comedies without flavor or ambition, those designed solely to pass the time, perhaps a chuckle here and there, Riley’s work is able to take big risks while retaining the viewers’ interest.

It is a challenge to describe the plot without revealing its wonderful, bizarre surprises. It is best to dive into it blind. Just know that it starts off with a black man named Cassius (Lakeith Stanfield) who lands a job as a telemarketer. He discovers that by employing a “white voice,” callers are more likely to stay on the line and make a purchase. His recent successes capture the interests of upper-management. From there, the screenplay commands intoxicating energy as it satirizes corporate culture, the media, and politics.

What I admired most about it, however, is its willingness to show how it is like for a person of color in a country that values whiteness. The “white voice,” for example, is played as a joke, but it is sharp commentary, too. After all, when there is implication that “white voice” is valued over brown or black voices, what does that say about how brown or black skins are actually seen? Still, despite what it has to say about a range of topics, the film is entertaining first and foremost.