No sex, nudity or cleavage shown throughout.
A character says a caretaker “boinked” her father, and other characters repeat the implication that the two characters (several decades apart in age) had sex. This is known to the audience to be unsubstantiated.
Direct repeated reference to masturbation by a teenage boy, twice in obscene spoken context; it is not shown or otherwise visually implied.
Photographs of a man with a woman other than his wife, implying a sexual affair.
A boy says you had sex with my grandfather.
A man says a teenage boy was ‘joylessly masterbating to pictures of dead deers’


Film review:Translated by www.rabudo-ru.com


After the slow start of the black hound chasing the fallen leaves, “the blade comes out of the sheath” presents a classic and somewhat rigid suspense setting: a Gothic mansion in the barren forest, scarlet interior decoration, decoration of terrorist elements, a body with a throat cut, a rich family with undercurrent, and a private detective with a cigar.

Based on these familiar typological elements and art design, as well as the film’s publicity strategy of sparing no effort to hook up with Agatha Christie, it is easy for the audience to think that “the blade comes out of the sheath” is a retro “whodunnit” suspense story. But once you are successfully tricked into the cinema by these tricks, you may find that many of your assumptions and expectations for the film may not be correct.

The mystery at the center of the film doesn’t seem to be so important, and the real suspense of “blade out of the sheath” is a new attempt to imitate the previous routine and boldly subvert the rules of the game. Like a magician, his left hand diverts the audience’s attention, but his right hand is brewing a grand surprise.

Bloody and murder is serious, but the blade is a fun comedy, full of vomit and prop knives, precise Tucao, make complaints about stupid and cheap people, and popular culture stalks such as Netflix and Baby Driver.

Under the trump of suspense and satirical comedy, the sword is a hot and unyielding comment on contemporary politics. It also discusses the problems of trump, immigration and class contradictions. It uses a mansion and a rich legacy to pierce the “false start empty handed” rich man’s hypocrisy. After the musical Hamilton, it has become another American story that uses the genre framework to satirize the past and the present.

Suspense: doughnut hole in doughnut hole

After the era of film noir, British and American suspense stories seem to appear more on the small screen in the form of series. Grandma and Conan Doyle’s motherland, Britain, are naturally very fond of detective stories. In addition to letting Sherlock Holmes, Poirot and Miss Marple go out for business all year round, they also produce high-quality detective dramas such as detective Morse and town mystery. The United States has brought more industrialized types of evergreen dramas such as crime scene investigation and law and order, but there are also some breakthrough works in recent years, such as true exploration, which grows in the soil of Southern Gothic literature.

Compared with the TV screen, the British and American detective films on the big screen in recent years seem a little barren. The 2017 edition of “Murder on the Oriental Express” should be regarded as the most pure suspense film in recent years, but the quality is poor and there is a lack of surprises. On the American side, the last more successful detective film may still be the series of “Sherlock Holmes” by Gary pigeon. In such an environment, “blade out of sheath” as a non adapted non IP pure original American detective film, it is particularly rare.

Director and screenwriter Ryan Johnson

At the beginning of the film, although the police judged Harlan’s death as suicide, the extremely cruel way of death, the complex family situation and the famous detective invited anonymously convinced the audience immediately at the beginning that it must be murder. Then, the first layer of suspense in “blade out of sheath” is very clear: who is the murderer?

The first step in deciphering this layer of suspense is the standardized inquiry. In the memories of the relatives of the deceased Harlan, the timeline of the night before Harlan was killed was slowly spelled out. Friends who have played script killing know that the best thing about the script killing setting is that each participant has a motive for killing, and in the concealment and exposure of the characters, this inquiry has become a somewhat clumsy script killing game.

When the leader of the whole interview, detective Blanc, sitting far on the sofa, showed his true face, the audience must also realize that there is a second layer of suspense in the sheath of the sharp blade. The detective, who always wears tweed suits and has a strong southern accent and has a special report on the new Yorker, was hired by an anonymous envelope full of cash. The identity of Blanc’s mysterious employer and the reasons behind it will continue to haunt Blanc and the audience for the next two hours.

After the question bridge, which serves as both a plot and an introduction to the characters, the motives of many important characters were exposed one by one. This expected number of ways must fully give the audience a sense of peace of mind when wearing a seat belt on the roller coaster. But just then, “the sharp blade comes out of the sheath” violently turned a corner and threw the first layer of suspense that just aroused the curiosity of the audience out of the car. The answer to the seemingly most important question is given in the middle of the first act.

The really wonderful part of “the blade comes out of the sheath” has just begun here. After ruthlessly overturning the presupposition, it changes the suspense type to dramatic conflict by constantly changing the motivation of the viewpoint character Marta. Under the magic of emotional identity and the development of tense plot, the audience is likely to have forgotten the existence of the second layer of suspense.

The excellence of Ryan Johnson’s play is that it can make the blade out of the sheath turn a few right turns, turn back to the suspense without trace, awaken with the second layer of suspense, and then overthrow the first layer of suspense. At this time, the audience may realize that the real key to solving all the puzzles has long been buried in the scene that seems to have revealed the truth.

Role: Contemporary asshole Atlas

The intention to pay tribute to Agatha Christie is obvious, but apart from the classic family setting, retro detective methods and some references from the narrative perspective, the core of the work is very different from Grandma’s.

Anthony lane, the film critic of the new Yorker, pointed out that the most attractive point in grandma’s works is disharmony, which is to uncover the ugliness and crimes little by little in an elegant and noble daily life. However, there is no such sense of disharmony in the sharp blade out of the sheath. The murder took place in a mud without dignity. All suspects were characterized as greedy and narrow-minded clowns from the beginning. In this setting, the sharp blade comes out of the scabbard has arranged for the audience as a viewpoint role of moral insurance from the beginning: Marta, the nurse of the deceased Harlan.

Viewers who have seen the soy sauce family episode of legal high may still be impressed by the reversal of the role of nurses in that story. The same stubborn old man, the same revised will, Marta in the blade out of the sheath has no possibility of reversal: she vomits when she lies. On the one hand, this dramatic setting adds comedy effect, but to a greater extent, it facilitates the development of the plot and the establishment of the audience’s identity with Marta. In the first act, Marta, who was kind and could not lie, told the audience the whole truth, and let the audience stand on Marta’s side without obstacles. In this way, when the suspense seems to have lost its magic, the blade out of the sheath still successfully brings the audience into Marta’s perspective morally and emotionally, and pushes the story in another direction with new goals and motives.

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