With daggers drawn: it seems that the “Cluedo film” is back in fashion [critique]

“The mechanics of suspense are devilish, but most impressive is the way, sophisticated and airy, in which Johnson ‘twists’ the codes of the genre.”

France 2 will broadcast this Sunday, for the first time in clear, Knives Out, of Rian johnson. A “whodunit” that First advises you, while waiting for its two sequels, still filmed by the same filmmaker and worn by Daniel Craig in Benoît Blanc. Because after the great success of this first survey, released in theaters at the end of 2019, Netflix has shelled out crazy sums to acquire the rights of Knives Out and engage its creators …

The story ofKnives Out : Famous crime writer Harlan Thrombey is found dead in his sumptuous property on the evening of his 85th birthday. With a sharp mind and a good-natured demeanor, detective Benoit Blanc is then hired by an anonymous sponsor in order to elucidate the case. But between Harlan’s family who are tearing each other apart and his staff who remain devoted to him, Blanc plunges into the twists and turns of an eventful investigation, mixing lies and false leads, where the twists are linked at a frantic pace until at the very last minute.

Criticism of First : Since The 8 bastards and the remake of Murder on the Orient Express by Kenneth Branagh, it would appear that the “Cluedo film” is back in fashion. A funny kind, with a little fuzzy outlines (its representatives range from Bloodhound To Eight Women) and of which we do not know until the name (whodunit ? murder mystery ?). We just know that, from a distance, he smells of polish and the parade of famous actors in Christmas sweater. Good news: the film by Rian Johnson (who needed to recharge his batteries after having turned half the world’s population on his back because of his Star wars unloved, The Last Jedi) is a lot more devious and fun than that. It is about the mysterious death of a famous author of detective novels and the investigation of a super detective answering the surname of Benoît Blanc (Daniel Craig, quite brilliant in southern Hercule Poirot), in search of the assassin who hides in the ranks of the stiff family of the stiff. The mechanics of suspense are devilish, but most impressive is the way, sophisticated and airy, in which Johnson “twists” the codes of the genre, like that, just for the fun of it. The story is told through the eyes of the victim’s nurse (extraordinary Ana de Armas), prompting to see this massacre game as a satire of Trumpist America, turned in on itself, on the verge of implosion. But even this political metaphor, which could weigh three tons, is as light as a feather. Ultimate proof of the elegance of a crowd-pleaser grand style, vibrant with an irresistible iconoclastic energy.

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