Coming off the box-office success (and cultural division) of “Star Wars: The Last Jedi” (the 4th best “Star Wars” movie) director Rian Johnson found himself in an interesting creative situation. He had been given, essentially, a blank check to do whatever he wanted. He had already done a satire of noir tropes, a con-man comedy, a sci-fi time-traveling thriller, and a “Star Wars” movie. He decided to make a murder mystery. Combining his love of Agatha Christie novels with an all-star cast, Johnson created a tiny movie called “Knives Out.” Fast forward six years from the first film’s release; this month marks the release of the third installment in the series, “Wake up Dead Man.” What began as the little whodunnit that could has now spawned a franchise of murder mysteries that have revitalized a tired and well-worn genre. With Johnson seemingly ending his “Knives Out” journey (for now), it feels fitting to revisit the first two entries in the series. 

The first “Knives Out” was nothing short of a cultural phenomenon. Both critically and commercially acclaimed, it grossed over $300 million against a $40 million budget. Its success signaled that audiences were still excited to experience new stories in this genre, and watching the film it’s easy to understand why. “Knives Out” feels like a classic detective novel. After renowned mystery novelist, Harlan Thrombey (Christopher Plummer), is found dead in his home; foul play is suspected, leading to every member of his family being labeled a suspect. The set-up is a classic, and the execution is a perfect plausible reason to kill Harlan. The film is made up of an all-star cast, Chris Evans, Ana de Armas, Jamie Lee Curtis, Toni Collette, Michael Shannon, and many others. Every performer is playing against how they’re usually cast, especially Chris Evans, who plays a hateful and spitefully entitled little weasel. Nobody gives a more original performance however, than Daniel Craig as Benoit Blanc. Benoit Blanc has become an iconic detective character, but at the time, it was Craig’s first big role since playing James Bond. On paper the role seems strange for Craig, but it’s the exact subversion of expectations that the series thrives on. Craig is incredible as the detective, exhibiting a Southern accent and mannerisms that feel distinct from anything he’s ever done. Craig plays the character with deep humor and intelligence; a man that’s easily able to adapt. It feels like it could become Craig’s defining role, speaking to Johnson’s talent as a screenwriter and director. 

The film is warmly lit and shot, taking place almost entirely in Thrombey’s residence. The space feels comfortable and welcoming, and the colors and textures of the house feel very cozy. The way the film is shot gives it a timeless quality, echoing the classic detective films of the past. It’s an absolutely beautiful movie to watch unravel as Blanc chases the killer across an autumnal setting. 

Johnson understands the tropes and conventions of the genre, allowing him to craft a script that feels familiar yet fresh. The dialogue is especially punchy, containing a winky tongue-in-cheek sensibility. Johnson understands the audience has experienced this genre dozens of times before and is clever enough to subvert expectations. The subversions and twists of the films are what make the “Knives Out” series so special. The biggest swerve of the film comes at the halfway point, where it’s revealed that Ana de Armas’ character, Marta, accidentally poisoned Harlan, leading to him killing himself. This subversion not only reveals the “killer” but slingshots the film into an entirely different genre, turning it into a story of a woman trying to cover her tracks. This is a shocking narrative choice, but even more shocking is how well it works to progress the narrative and dramatically alter the structure of the film. For fans of the mystery genre, this tapped into entirely new territory. This choice gives the rest of the film a breakneck pace, with the audience following along to see if Marta can get away with the crime. Johnson again subverts the narrative at the end, with Chris Evans’ character, Ransom, revealed to be the “killer,” switching Harlan’s medicine, leading to him killing himself. It’s yet another twist that makes the plot so lively and engaging.  

The first film has become a classic in the cultural lexicon, a sharply written and perfectly acted murder mystery that audiences hadn’t seen before. It’s an incredible film, and one that remains just as fun to piece together on the first watch as the twentieth. Johnson had created a machine with endless possibility, and teamed up with Craig, the two were unstoppable.         

After the success of the first film, Netflix bought the rights for the next two films. The sequel, “Glass Onion,” had a limited release Thanksgiving weekend of 2022 before streaming on Netflix December 23rd. The film featured Benoit Blanc having to solve a murder on billionaire Miles Bron’s (Edward Norton) private island getaway. Where the first film feels classic, rooted in a timeless sensibility, the sequel feels firmly rooted in the present (of 2022), taking place during the COVID-19 Pandemic. It’s a tiny detail but means a lot when considering the themes the film tackles, particularly regarding the rich and how they treat those they deem less. 

The film again follows a similar set-up; an ensemble cast including Janelle Monáe, Kathryn Hahn, Leslie Odom Jr, Dave Bautista, and many others, all arrive on Bron’s island. There, Duke (Bautista) accidentally drinks from Miles’ glass and dies, revealing that someone may want to kill him. All the characters have plausible reasons to want to kill Miles, and again, Blanc has many suspects to examine. “Glass Onion” doesn’t fit into the convention of a mystery. While the film does follow Blanc trying to catch the killer, the story focuses mostly on Monáe’s character, Andi, trying to prove that someone in the group killed her sister, who had died of suicide earlier in the story. The film feels less like a mystery and more like a thriller. It’s the series’ trademark twist, a subversion that takes the narrative into unexpected territory. 

The film also feels more thematically ambitious than the first, which itself was a commentary on how immigrants are treated in contemporary America. The second film really solidifies Johnson’s interest in using these crowd-pleasing films to imbue them with political messaging and social commentary. The film is less cohesive than the first, but Johnson’s enthusiasm is clear, gleefully throwing new ideas at the wall to see what sticks. It makes for a sometimes disjointed, but still entertaining film to experience. The film also looks vibrant and lively, the color and space of the island contrasting with the first film’s rustic home. It’s a contrast that feels deliberate, pushing the visual language of the franchise into new directions. The world is expansive and large, a kaleidoscope of island life and beaches, as if Johnson is saying to the audience, “I won’t make the same movie twice.”   

When viewing the films together, Johnson has created two distinct and unique murder mysteries that stand apart, yet remain in conversation with one another. With “Wake up Dead Man,” he seems poised to do it again, creating a gothic mystery in a small-town. “Wake up Dead Man” will begin its limited theatrical run on November 26th, before landing on Netflix on December 12th. The film sees Benoit Blanc (Daniel Craig) attempting to solve the murder of Monsignor Wicks (Josh Brolin).  

Wicks is a controversial figure in the community, beloved by those that attend his church, yet known to use his position to spew hatred and vitriol, attempting to further his own agenda. When Wicks is murdered and the only person present is Reverend Jud Duplenticy (Josh O’Connor) who swears he’s innocent, Blanc and Jud team up to solve a case that, given the circumstances, is impossible. The film includes another all-star cast featuring Glenn Close, Andrew Scott, Kerry Washington, Cailee Spaeny, and many more. The film is Johnson’s most thematically resonant film yet, exploring how religion can become perverted to further individual agendas. The film is incisive and hilarious, delivering thrills and twists. It’s a return to form for Johnson and a delightful reason to go to a movie theater. If this is the end of the franchise, Johnson and Craig go out on an incredibly endearing, funny, and beautiful note.