KNIVES OUT (2019) Dir. Rian Johnson
I love a good whodunnit with an all-star cast of suspects and Knives Out delivers despite itself. I can forgive the minorities-deserve-reparations storyline and the repeated contrast of haves and have nots. I can even overlook the conservative bashing because it’s well written and even a bit funny.
But you see, Hollywood is like a child that can’t help but pick at a scab until it starts bleeding. It can’t let old social issues actually heal. It needs to keep the flames of discord fully engulfed. Decades of change, advancement and unity is still not good enough in Hollywood, so movies will continue to be made that maintain the lie that we are hopelessly divided, hate each other and that life is a shit experience hardly worth living.
The irony, not lost on anyone with a shred of awareness, is that Hollywood is a big part of the problem that contributes to the system and is intrinsic to their ever-loving catch-all phrase of systemic racism. Hollywood, like the media, relies on their audiences to get their information from them, that’s the only way their propaganda works, so I’m guessing that it’s a requirement for Hollywood product to be steeped in issues that further social engineering and that fabricated real world narratives be written into every major script. This is that existential threat they’re always fretting about. If more people wake up to the lies, they would cease to exist.
It is now an old Hollywood tradition to bash conservatives in the most cliché and overplayed fashion. They are equated to nazis, portrayed as in-bred rednecks with bad grammar, religious fanatics, gun fetishists, and are always white skinned. The programming requires that these ridiculous stereotypes be repeated as often as possible online, the media promotes the lie and Hollywood gives us moving pictures to reinforce this inverted progressive fantasy because if they all repeat the lies and accusations enough, then the lies become true, right? Well, that’s the theory, and sadly, it works on an awful lot of people. So why pass up the opportunity to write in that old chestnut, “There are children in cages!”? This tired claim repeated ad nauseum regardless of the fact that the border practice referred to is Obama-era and something that the media placed on Trump. It’s just gotta be true. Damn, evil Trump!
Anyway, in the film, a rich old white guy dies mysteriously, and his horrible entitled children lose their shit because they are cut out of his will. They are furious that the patriarch’s South American nurse is given everything even though she deserved it over any of his bloodsucking weasel relatives. By Hollywood standards, we know that the whole family is racist, not just because they’re white, but because they independently refer to the caregiver as being from Paraguay, Ecuador and Brazil. The intended message being that she really doesn’t matter to these rich, self-important scum.
But it’s the 16-year old grandson of the dead patriarch who gets the Trump supporter treatment and is called an “alt right troll dipshit” and is accused of masturbating to pictures of dead dears (?!). His politics are envisioned as a “sea of red hats” so that we can surmise that he is indeed a ‘nazi’. The family may not like each other, but they all agree on hating this one child. And as we’re taught, conservatives deserve to be hated, even if the hatred comes from their own family. So while Knives Out is padded with anti-family propaganda, conservative bashing and pro-immigration sentiment, in other words, typical Hollywood social engineering, it remains a somewhat enjoyable movie, but not necessarily one worth recommending.
This review first appeared in the print version of Victims of Cinema. The first 50 reviews can be obtained HERE.