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Carolyn Harper (Raven Whitley), dressed in her band uniform, carves her initial in the forehead of a jock named Andy Kitzmiller (Ty Olwin). He doesn’t care because he thinks he’s about to have sex, but she pushes him away. An angry Andy storms off with Carolyn’s glasses, leaving the girl stranded. She never makes it home. Did she simply run away? Is she still injured somewhere in the woods? Or is she dead? The movie that follows pretends to care but is more about the impact of her disappearance than any sort of mystery waiting to be solved.
A detective investigates the death of a patriarch of an eccentric, combative family. When renowned crime novelist Harlan Thrombey (Christopher Plummer) is found dead at his estate just after his 85th birthday, the inquisitive and debonair Detective Benoit Blanc (Daniel Craig) is mysteriously enlisted to investigate. Knives Out sharpens old murder-mystery tropes with a keenly assembled suspense outing that makes brilliant use of writer-director Rian Johnson's stellar ensemble.
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Much like in the town of Twin Peaks, the classmates of the missing girl and their parents have more than a few idiosyncrasies. Reeder cycles through the lives of these teenagers, most of them addled by obnoxious boys and men. The most interesting is Andy’s sister Joanna (a promising Grace Smith), who ends up hit on by her substitute teacher and selling her mother’s underwear to another school official. The point that awful boys will become awful men is an interesting one, but these subplots are underdeveloped. Every time something feels like it’s about to gain thematic traction or narrative weight, “Knives and Skin” just floats off in another direction altogether. Maybe that’s part of the point? The inconsistency of the teenage existence? I feel like that may be giving a half-baked screenplay a bit too much credit.
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The adults are even crazier, and they fare better in terms of character and performance. Marika Engelhardt throws herself into the grieving mother role, crying as she conducts her choir to sing “Our Lips Our Sealed” and sniffing Andy’s shirt and neck because they smell like her missing daughter. There’s something dangerous in her performance that the rest of the film sorely lacks. Every other adult has their baggage from infidelity to outright living a lie. Again, it’s a theme of Lynch or Gregg Araki to spotlight how adults are no more mature than their teenage children, but “Knives and Skin” feels like it doesn’t understand how to do this past a superficial level.