Revisiting “Knives Out”- Now on Amazon Prime
Written and directed by Rian Johnson (Looper, Star Wars Episode VIII: The Last Jedi), Knives Out was one of the most clever and intricately crafted films of 2019.

In the serene embrace of sacred nature, trivial thoughts dissolve away. A profound silence engulfs the mind, stifling even the breath. It is the rediscovery of a lost emotion—'awe,' flowing like a stream. A mother, mourning the loss of her only son, embarks on a daily ritual of mountain hikes. In the ascent, she seeks solace amidst the sacred silence that nature provides. For her, the journey becomes a poignant exploration of the profound and the mundane. A 70-year-old haenyeo (traditional female diver), wise from a life intertwined with the sea, asserts that materiality is both our everyday reality and our path to paradise. Their lives, like the ebb and flow of water, find meaning in the continuous stream. Following the currents, one discovers mountains beneath the sea, whereas within the mountains, the sea continues to flow. Ultimately, the boundaries of the world are revealed to be nonexistent, echoing the profound interconnectedness of all things.
Written and directed by Rian Johnson (Looper, Star Wars Episode VIII: The Last Jedi), Knives Out was one of the most clever and intricately crafted films of 2019.
Even with its straightforward premise, “Richard Jewell” is ramped up by exceptional drama. In all honesty, the performances are out of this world. As Jewell, Paul Walter Hauser becomes a walking representation of gullibility. His bumbling antics create the perfect hero, and very quickly, we feel the societal heat that surrounds our protagonists.
If “Good Time” was a lean exercise in suspense, “Uncut Gems” is an ongoing panic attack. It handcuffs us to an immoral man, made up of selfishness and unreliability. At every point, Adam Sandler connects himself to this idiotic soul, unearthing the misguided opportunism that comes with gambling addiction
I understood post-memory as passing down stories and images of one’s experiences that are not your own. For decades, rape has been depicted in cinema through a third-person perspective, leaving the viewer to observe rape; not to experience it.
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.