WATCH THE TRAILER HERE
First, the Recap:
Can’t you see this is a land of confusion? It was a line that a formerly popular (and still iconic) pop music group once asked in their song of same title. And while that context may have been more of an all-encompassing social statement about the, well, state of society, it’s a notion which applied to us individually as well when we find ourselves embattled by the consequences of choices made or simply the weight of previous circumstances we still haven’t TRULY owned up to. As always, it then becomes that age-old question–how do you (or WILL you) come back from it? Frank Benetto (Gene Pope) sees his life as starting anew in the wake of all that’s happened in his life, yet likewise finds himself at unsteady odds with his adult daughters Kaitlin (Roxi Pope) and Sadie (Emily Bennett) as well as his ex-wife Kathy (Mel Harris). But, when newfound (and initially accidental!) interest Autumn (Alexandra Renzo) enters the picture, will it spell relief and rebirth, or simply more overt drama while trying to adapt to the constantly evolving modern world around him?
Next, my Mind:
Bluntly candid, realistically relatable, darkly and optimistically comedic while also endearingly dramatic, and fully entertaining to the degree of just how blindly dysfunctional we can be as humans when all which remains unresolved within us is not settled in the manner it should be, this 102-minute indie feature film that comes courtesy of director Jon Delgado, writer Lindsay Joy, writer/producer Gene Pope, producer Jenn Gomez, co-producer Padraic Lillis, and associate producer Kevin Bay unapologetically wears it’s dramedy-centric focus wholly on its sleeve, addressing a multitude of elements that paint a raw image of humanity in its most tenuous moments while not sacrificing an ultimately positive message about family bonds, inner healing, moving on, and adjusting to the times. Some might honestly wish to dismiss this effort, which actually arrives as a sequel to the 2020 effort “King of Knives“, as “just another smaller budget indie”, but I think once more it begs to be given a better opportunity than that to look beyond the surface of things and really dig into the relevant issues and concepts the film chooses to build on here.
Our narrative which finds the members of the Benetto family still reeling from a loss while having to not only cope with it as they’ve each chosen, but also confronting the ways in which it has all deeply divided them as they pursue their own personal plights, insecurities, and faults, the story moves forward with enough intent and pacing to keep you interested in the midst of presenting facets of genre-crossing thematic explorations delivered via everything from straight up comedy, to more satiric/farcical wittiness, rom-com-esque leanings, accessible dramatic purpose, and as hinted at above, a real underlying HEART at the core which comes through in bits and pieces at first, but continues to build as the story progresses. Being transparent, this critic feels like this style of film simply gets too LITTLE credit more often than not, again cast aside as literally “too poorly produced or written” to warrant genuine consideration. And while I will also be honest that, sure, I won’t remotely say this is the BEST FILM I’ve ever seen, is it really SUPPOSED to be, instead more of a movie that succeeds for BEING what it IS as opposed to MORE than it SHOULD be.
Ideally, I am trusting that idea makes sense when delving into this effort, because indie film HAS its fair share of COMPLETE duds, but this is NOT one of those by ANY means, in my opinion. I love when a film puts certain realities out there, even through fictional storytelling, that causes us as people to ponder what’s conveyed while being entertained at the same time. Thematic tangents found here are plentiful, talking about feelings, gender roles, generational and age gaps, having to encounter our own flaws or attempting to avoid them, spiraling self-destruction under the burdens we try to hold onto rather than release, questionable decision making, past vs. current mindsets, overt stubbornness, oversharing, the unexpected wisdom of strangers, online dating, relationship boundaries, the need for actual human connection, judgement of ourselves and others, shifting perspectives, being alone, awkward moments, prejudices, realizing a need to be open to change and growth even when uncomfortable, parenting and the associated relationships with kids, supporting one another rather than tearing each other down, and more all get screen time here, doing so in an atmosphere this critic feels was believable.
Plus, and as stated prior, all of it gets brought to us with that smartly executed, ever-fluctuating mix of mirth (both irreverent and winsome) and meaningful instances that encapsulate all the aforementioned aspects above with a finale that wraps it up neatly and charmingly after all the situational chaos that preceded it. This critic has often stated ensemble casts are awesome when it’s all working as a unified force, and I felt that’s precisely what transpired here. Pope brings forth a blend of amusingly unfiltered levity and solid comedic timing with an equal amount of credible, subdued energy when toning down the humor for more significant moments through his role as Frank, a man very much moving to the beat of his own drummer while content that he’s right where he wants to be, even though underneath it, he’s hurting, lonely, and in need of redemption on a myriad of levels. Things gets shaken up upon meeting Autumn, a younger free spirit who allows him a chance to feel alive again–but at what cost might it come?
I appreciated Pope’s ability to grant us a character that might be conspicuously marred inwardly while putting on a brave face on the surface, but isn’t ultimately someone who doesn’t desire to BE better, rather just needs the final wave of tumultuous and inspiring events to push him in the direction he needs to finally acknowledge it and charge ahead. Pope accomplishes this task wonderfully throughout and while you might feel different ways about him as the narrative unfolds, I thought that is the point here, and hence a credit to Pope’s commitment to a purposefully IMPERFECT character he portrays. Renzo is a portrait of delightfully innocent allure and carefree spark as Autumn, a younger woman who ends up finding herself running into Frank (watch the film!) and becoming enamored with the banter and seeming compatibility they share. However, even in spite of their romantic ties that well up, will it be a connection that can have an actual future for them? I was one hundred percent immersed in Renzo’s acting here, as again, she so deftly creates this air of absolute grounded beauty and realistic passion that befits the character.
Roxi Pope and Bennett do a fantastically hilarious and engaging job as Frank’s two totally different daughters Kaitlin and Sadie, the former a humble but strong creative type seeking to unveil an as-of-yet undisclosed relationship she’s been cultivating upon her unsuspecting family while the latter is a smart, business-savvy woman who has a very BAD habit of getting a TAD too close to certain co-workers. Both actresses are so adept at imbuing their respective characters with evident instability yet at the same time completely feasible sisterly combativeness paired with the unconditional bond of support they really have for each other and the family overall. Harris is all sincere fire and fervor as Frank’s ex-wife Kathy, whose entire reasons for BEING his former wife is alone the center of controversy for him especially, and it is brought about with hilarity and honest soul as she makes her own efforts to keep a family together while trying not to go completely nuts with all the revelations that soon come her way and will be the test of her resolve and commitment to maintaining the bonds with her family regardless of circumstances.
It’s another energetic, yet also understated performance here that Harris gives to us with excellent results. Primary supporting appearances are made by the wonderful Tara Westwood as Joanne, a highly successful, no-nonsense businesswoman who has a rather–close–tie to Kathy, Barbara Tirrell as Masha, an older woman Frank meets at his seaside haunt and who may have quite the influence on him over time, Carmen LoBue as Mattie, the special someone in Kaitlin’s life who has a desire to finally meet the family–for good or ill yet to be determined, Justin Sams as Sebastian, an individual from Frank’s past who also holds ties to a hurt Frank still holds onto, Robert Costanzo as Sal, a local bartender Frank often confides in, Arthur Langlie as Jay, one of Sadie’s bad choices who could also end up being more than just that for her when things get–frisky–in the wrong place, and Jay Russell as David, Frank’s friend and who is trying to get Frank back to work. Additional key supporting appearances are made by Molly Lloyd, Bonnie Rose, Zebedee Row, Stephanie Rocio, Christopher Laing, Robert Anthony Jones, Neptune, and Marcelo Constantino.
So, in total, “Queen of Knives” stands as a lesson in having to contend with the trials of life in order to learn what will work, what won’t, what SHOULD, and what SHOULDN’T while experiencing the catalysts placed in our path that end up causing things to just BE what they are required to, hence discovering more constructive means to handle disputes and our innate tendencies to overreact, overthink, and allow strife to overtake us rather than embracing inevitable change and the inherent wonder that is moral, emotional, and necessary attachment to those who are most important to the journey along the way, with the reconciliation and healing that accompanies it.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
