They openly shit on Trumpers and especially old whites obsessed with deporting browns.

There is secondary character who is an Alt Right internet twerp and even the conservative adults mock him. His politics and internet addiction are open jokes, not just suggestions.

The heroine is a woke Latinx woman with an undocumented mother and the Trumpers try to leverage that information.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235103)

All the negative characters, who are all alluded to as Trumpers, are entitled,greedy idiots who buy into a fake American/family mythology and they try to fuck over the kindly Dreamertina in order to secure their estate legacy because they’re unwilling to make their own way in life. It couldn’t be more overtly political.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235128)

You’re my brother for life but you’re stretching credibility if you think that wasn’t an onbvious takedown.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235187)

At one point Michael Shannon’s character tries to leverage the protagonists’s mother’s immigration status against her and he’s otherwise apolitical. Don Johnson’s character is shown to be a vapid, dishonest, lazy bag of shit and he’s mocked openly as a Trumper. Meanwhile Instagram mom and SJW daughter are all but forgiven by the script.

The final scene and ending gratification of the whole film is the vindicated woke Latinx sitting in judgment of the entitled white family who is scared to work for their affluence, deciding their financial fates after they systematically mistreatedher and used her ethnic/national background against her. Ther also unsuccessfully try to buy her off with empty promises. The benevolent old man did everything to shield her undocumented immigrant family, by the way.

Look I get that you liked the movie and you hate shitlibs, so it makes sense that you don’t want to acknowledge this stuff. Brother you are smart - take off the blinders. Do you really believe that Hollywood golden boy ‘Rhian’ was trying to be balanced with his movie? You can even disregard that obvious reality and just consider that this is a studio film that needs to hit with youth markets to sustain theatrical revenue for a few weeks. It’s not an even-handed indictment of Repitles and Shitlibs.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235263)

Congrats!

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235452)

I hate most movies that get political, but this one wasn't a mindless repetition of shitlib gospel.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235155)

You bros ought to consider that you’re vindicating he filmmaker when you start raging and grow incredulous at the mere suggestion the movie has an openly liberal political agenda.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235323)

LMAO if you guys are actually mad about the good-natured XO MacBook reference. Calm down for your own good if that mild, mild shitlib comparison triggered you. I am laughing at the overt, frothing shitlibbery of the movie, not celebrating it. Seems like everyone in here immediately saw red at the mere suggestion.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39235394)

In his new movie, Rian Johnson dusts off Agatha Christie with help from Daniel Craig, Jamie Lee Curtis and Don Johnson.

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‘Knives Out’ | Anatomy of a Scene

Rian Johnson narrates a sequence from his film.

My name is Rian Johnson, and I wrote and directed ‘Knives Out.’ So this is a scene about 45 minutes into the movie, where we first get to meet Chris Evans’ character, Hugh Ransom Drysdale. He goes by Ransom. And there’s Chris Evans, a rare moment of dogs not liking Chris Evans. You can’t really tell here, but this is a real mansion in the middle of Massachusetts that we shot in. It was a gorgeous murder mystery mansion that we just found and we shot inside and outside of it. This is LaKeith Stanfield and Noah Segan as the two local cops right here. “Excuse me. Sir, we’re officers of the law.” And here comes Daniel Craig as the eccentric detective, Benoit Blanc, and Ana de Armas as Marta. “So what’s this arrangement?” “Mr. Drysdale.” “CSI KFC?” I’m very proud right here of the staging of this, trying to stage everybody so the dialogue scenes worked. Like with this, we come in and first meet the family in this room doing this wide panning over shot to establish the geography of it. In the close up of Chris, you see Daniel coming back there. We get Toni’s entrance. “Hey. Hey.” And this is Frank Oz. Frank Oz, who did a little cameo for us. I’ll try and go through and introduce the cast a little bit. You saw Toni Collette there, who plays a lifestyle guru. This is Michael Shannon, who plays Walt, the youngest brother. Jamie Lee Curtis, who plays Linda, the eldest sister. And Don Johnson will be seen here in a moment, who plays her husband. There’s Don right there. Look at all the great sweaters. And then hanging in the background, that’s Katherine Langford and that’s Riki Lindhome. “Jacob was in that bathroom the night of the party.” And that’s Jaeden Martell, who plays the younger son. So an example of that three-shot right there, like this shot right here, figuring out how to just get everybody comfortably in frame it in a way that feels natural. This scene was one of the most fun scenes in the whole movie to shoot, just because all of these actors were together in this room. We had a couple big scenes like this, where all of these amazing actors were together, and they all got to play off of each other. “You want to go?” “You bet, Skippy, let’s go.” So, yeah, everyone kind of goes at each other here. I love this ridiculous little slap fight between the two of them. I mean, it’s kind of silly. But that’s kind of the tone of the movie. It’s a murder mystery, but it kind of, you can tell, has like a sense of humor to it. [INTERPOSING VOICES] “We got to do this more often.”

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Rian Johnson narrates a sequence from his film.CreditCredit...Claire Folger/Lionsgate

By Manohla Dargis

Nov. 26, 2019

Knives OutDirected by Rian JohnsonComedy, Crime, Drama, Mystery, ThrillerPG-132h 10m

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A sleek game of cat and mouse, “Knives Out” begins the hunt with a mysterious pool of blood and ends, well, telling wouldn’t be fair. The press screening that I attended was preceded by a brief video in which the writer and director Rian Johnson asked viewers not to spill the movie’s secrets. The entreaty suggests how seriously Johnson takes his own cleverly deployed twists and the challenges of keeping ostensible spoilers under wraps. The twists are kinked and amusing, although far less striking than the obvious pleasure he had making this exactingly machined puzzle box.

Stuffed with famous and blurrily familiar faces, the movie takes the shape of an old-fashioned whodunit — the kind with mystery, suspense, entertainment, a corpse on an heirloom settee and a half-dozen or so shifty suspects milling about.

As in many genre exemplars, the main setting is a stately manor with dark corners, creaking stairs and a warren of richly appointed rooms shrouded in secrets. Together, the rooms create a claustrophobic maze, though they more pointedly resemble cabinets of curiosities with jumbles of books, dead animals, laughing masks, acres of rugs and eccentric objets.

ImageAna de Armas and Daniel Craig in “Knives Out,” a murder mystery directed by Rian Johnson.

Ana de Armas and Daniel Craig in “Knives Out,” a murder mystery directed by Rian Johnson.Credit...Claire Folger/Lionsgate

The house itself feels like a mousetrap, which works for a narrative puzzle in which the parts keep shifting as the wood-paneled walls close in. The overall sense of confinement is perfect for the aims of a private investigator, Benoit Blanc, a honey-baked ham played by Daniel Craig with grandiose self-regard and a Southern accent that seems borrowed from Kevin Spacey. There isn’t a butler in the parlor, but there is a rather too virtuous caretaker, Marta Cabrera (Ana de Armas), who worked for the manor’s imperious patriarch Harlan Thrombey (Christopher Plummer), who suddenly and rather flamboyantly croaks.

Harlan is a charming monster, a type that Plummer excels in playing, and it’s a shame that he isn’t around longer. A renowned mystery writer, Harlan has written stacks of best sellers, amassing wealth and cultivating a grasping, desperate dependence in his avaricious family. Someone clearly had a good time coming up with the titles of his tomes, which read like winking clues or chapter headings: “Vulcan’s Den,” “The Badger,” “Nick of Time,” “Ultimatum,” “This Little Piggy.” A genre savant, Johnson understands that one of the pleasures of mystery stories is how they turn viewers into detectives, eager amateur sleuths who also sift through the clues, false and not.

Johnson scatters enough hints to keep you busy guessing as characters enter and exit amid abrupt cuts and flashbacks. Things get complicated, though they never deepen, which seems by design. “Knives Out” is essentially an energetic, showy take on a dusty Agatha Christie-style murder mystery, with interrogations, possible motives and dubious alibis. Soon after Harlan’s body is discovered, the law (Lakeith Stanfield and Noah Segan) questions the family, a finely curated collection of gargoyles presided over by a crisp Jamie Lee Curtis and a leaden Michael Shannon as Harlan’s children, and rounded out by Don Johnson, Chris Evans and Toni Collette, among others.

You spend a lot of time with Benoit and Marta, who are never as engaging as the size of their roles suggest they’re meant to be. Benoit’s part in the investigation is another mystery; he sniffs around like its lead dog but mostly comes across as a delectable chew toy for the director. When you first meet Benoit, he is sitting in an armchair, a nod to a genre staple and some teasing misdirection: He is, you soon appreciate, a hands-on sleuth if not an especially penetrative one. He presses witnesses, roams the grounds and sticks close to Marta, the most sympathetic and sentimentalized character in a movie that otherwise exhibits an exuberant skepticism about human nature.

As the inquiry builds, the suspects are stripped of their defenses, exposing pettiness, sharp teeth, false fronts and one pure heart. Johnson fills the frame with looming heads, folds in a nifty car chase and, in a striking tableau, sets loose the hounds. M. Emmet Walsh (who appeared in the Coen brothers’ “Blood Simple”) pops in, as does a photo of the magician Ricky Jay, who died before he could play Walsh’s role. Johnson’s own sleight of hand is estimable, even if his effort to add politics into the crowded mix rings hollow. The machine is what matters here, and he has clearly had such a good time engineering it that it’s hard not to feel bad when you don’t laugh along with him.

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39610257)

But the ultimate judgement IMO seems to be that the family did in fact take her in and treat her well, and she ended up with that inheritance which they all of course tried to screw her out of, but does anyone think she deserved that wealth instead of the family as dysfunctional as they were? Who wouldn't fight dirty trying to get that money back in their shoes?

The humor makes it such that it's hard to take the political subtext more seriously than the text, because although that family is dysfunctional, the characters are mostly funny and you want to see more of them, and are never really disgusted by anything they do because the tone of the film keeps it as a light-hearted goofy mystery satire.

So when she's sitting in judgement over them on the balcony at the end - are we really to think she deserves that guy's estate more so than his blood?

I don't think those family members are unsympathetic enough to take the political messaging too seriously, and whether or not she's the heroine is unresolved, because we don't know if she keeps it all for herself despite that family treating her well excluding inheritance fight (who wouldn't fight for that money) and therefore being no better than they are, or if she helps out the family of her "friend" who gave her that much wealth / the people who treated her well enough it seems.

Also as mentioned above most of the characters have mirrors - the alt right internet troll kid vs the sjw girl spending 50k per year or whatever it was on a worthless -studies degree from a private liberal arts college......

(http://www.autoadmit.com/thread.php?thread_id=4397586&forum_id=2#39654501)