It’s frequently funny but still very much a thriller, and while the knowing, zinger-heavy script isn’t afraid to reference its inspirations, it never veers into parody. Knives Out is also a film that clearly loves the genre it belongs to, channeling everything from Agatha Christie to Jessica Fletcher (keep an eye out for a top-notch Murder, She Wrote gag). Writer-director Johnson has fashioned a meticulously crafted movie, both in terms of its story, which hangs together superbly, and also in terms of its production – from the brilliant set design (“The guy practically lives on a Clue board,” Lakeith Stanfield’s cop cannily observes of Thrombey’s wood-paneled manor) to Nathan Johnson’s suitably snappy score, this is an undeniably classy piece of filmmaking. Of course, the real joy of Knives Out is in navigating its puzzles for yourself, and to say any more would be to scupper the many twists and turns that are strewn throughout the film’s clever narrative.
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