All the Old Knives

A spoiler free review of All the Old Knives begins with its confidence as a thriller. Directed by Janus Metz, it leans on Goksin Erdemli and Kasia Madera to give the material a human centre. At story level, In Vienna, Veteran CIA and Henry shape the central setup, but the later turns are best left for the film to reveal. Those ingredients give the film a useful foundation, but the lasting impression depends on how well it balances mood, character and momentum.

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The film is sharpest when it narrows the characters' options and lets consequences arrive naturally. That sense of escalation provides momentum, while the cast keeps the tension rooted in recognisable reactions. The ingredients are appealing, but the balance is inconsistent. Energy and character come through in bursts, followed by stretches that feel overextended or underdeveloped. It is engaging enough in the moment, though less persuasive when considered as a complete piece.

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Goksin Erdemli and Kasia Madera carry much of the emotional responsibility, and their different approaches keep the central relationship from becoming one note. Chris Pine makes a strong impression without pulling focus from the main line. Janus Metz's direction gives reactions time to register, which is important in a film where a look or hesitation can communicate more efficiently than another explanatory exchange.

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Thematically, All the Old Knives is interested in trust, control and the anxiety created when reliable information becomes difficult to separate from manipulation. That uncertainty gives the suspense a psychological edge, especially when the characters must act before they possess the complete picture. The film is most persuasive when these ideas emerge from behaviour rather than speeches. That additional layer gives the story more purpose than a sequence of familiar genre beats, even if every implication is not explored with equal depth.

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Technical restraint serves the film well. The camera observes details that may or may not matter, the soundtrack leaves useful pockets of silence, and the pacing allows uncertainty to accumulate. When the craft becomes too visible the tension weakens, but the stronger passages understand that anticipation depends on what remains outside the frame as much as what appears within it.

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Too many scenes state their purpose openly, leaving little room for discovery. The performers add nuance where they can, yet the writing often sends them toward predictable reactions. A sharper structure would have transformed several isolated strengths into a coherent film.

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I wanted All the Old Knives to come together more decisively. Its better moments make it worth considering for thriller fans who prefer steady escalation and psychological pressure to empty surprise, but the weaknesses prevent a wholehearted recommendation.