Release: Friday, November 23, 2022 (limited)
Written by: Rian Johnson
Directed by: Rian Johnson
Starring: Daniel Craig; Edward Norton; Janelle Monáe; Kathryn Hahn; Leslie Odom Jr; Dave Bautista; Kate Hudson; Jessica Henwick; Madelyn Cline
The elite and entitled once again take it on the chin in Glass Onion, the sequel to Rian Johnson’s highly entertaining 2019 murder mystery Knives Out. Set in the era of COVID and inspired by the director’s own cabin fever during the lockdown period, this new installment, the first in a two-sequel Netflix deal worth upwards of $460 million, may not be as sharp as its predecessor but it still has the engaging characters and plot to make it a worthy follow-up.
With the exception of Daniel Craig reprising his role as the brilliant Detective Benoit Blanc, Glass Onion is a complete reset, luring a fresh cast of characters into a new, unrelated web of deception and backstabbing, and establishing a lavish, borderline Bezosian setting to match the more exotic ambition of Johnson and company. Thankfully what also returns is the crisp and dynamic pacing of Knives Out, returning editor Bob Ducsay sewing together the many moving parts to create another intricately designed puzzle that also happens to be narratively fleet-footed — even at two hours and twenty minutes in length the movie doesn’t overstay its welcome.
While everyone else is locked down, tech billionaire Miles Bron (Edward Norton) decides to open his doors to some of his closest friends — his fellow “disruptors” — by hosting a murder mystery party on his private Greek island. Apparently the gathering is an annual event but this year the vibes are a little different, for reasons that are obvious and some that are festering below the façade of pleasantries. The guest list includes Connecticut governor and aspiring Senator Claire Debella (Kathryn Hahn), cutting edge scientist Lionel Toussaint (Leslie Odom Jr.), controversial fashion designer Birdie Jay (Kate Hudson), men’s rights streamer Duke Cody (Dave Bautista) and Cassandra ‘Andi’ Brand (Janelle Monáe), the recently ousted co-founder of Miles’ company, Alpha.
While the latter’s attendance causes a stir amongst the other guests, and Monáe floats through her scenes with an aura of mystery that’s hard to ignore, it’s the presence of the world-famous detective that seems to throw things off balance from the get-go; unlike Birdie’s high-strung assistant Peg (Jessica Henwick) and Duke’s sidekick of a girlfriend Whiskey (Madelyn Cline) Benoit hasn’t actually been invited (despite passing through the same comical screening process all attendees must, including spending the time just trying to figure out how to open the invitation). But hey, the more the merrier for Miles’ evening theatrics, which of course don’t go to plan when someone actually ends up dead.
The ensuing chaos, exacerbated by a power outage as well as good, old-fashioned paranoia (not to mention the sudden disappearance of a loaded weapon), is nothing if not the product of a filmmaker who likes to take risks. If Johnson doesn’t quite manage to outsmart his previous whodunnit, he certainly gets bolder toying around with conventional wisdom — the already divisive writer/director pulling off a reveal that has no right to work as well as it does. Unlike Craig’s genteel detective, whose job is to distill the simple truth from the noise and nonsense, Johnson delights in obfuscation. His screenplay is a delicious layer cake that simultaneously props up genre conventions and subverts them with style and humor.
While the comedy may end up overriding the drama, and the tension never gets as high as it maybe should, the time is well-spent thanks to the efforts of a dedicated cast, some of whom really stand out in atypical roles: Bautista bros out hard and is counterintuitively entertaining with his caveman attitude, while Hudson is a hoot as a tone-deaf tweeting fashionista who can’t be trusted with her own phone. Norton, as per usual, brings his A-game and threatens to steal the show from everyone. Ah but wait, the cherry on top is another terrific turn from Craig, whose joy in not being burdened with the Bond role any longer is obvious, practically worn in his summer fabrics here.
Bigger, louder and flashier, Glass Onion turns out to be a sequel that’s more playful than substantial. Look no further than the curation of needle-drops and A-list cameo appearances throughout, or the title itself which contains layers of meaning (particularly if you know your Beatles lyrics). And it’s probably for the best Johnson takes broad swipes at COVID-era politics, and instead drills deeper into the interpersonal tension that unfolds between these hypocritical, self-absorbed buffoons. The collective thematic burn may not leave much of a scar, but in the moment Glass Onion, with all its attendant distractions, is undeniably good fun.
Moral of the Story: Though I found it bizarre and a little frustrating the film only spent a week in theaters before heading to Netflix, Glass Onion is a movie that will probably reward repeat viewings, perhaps not as much as Knives Out, but there are surely little nuggets to be found a second (or more) time around. And what better way to peel back the layers of Johnson’s creative — and at times audacious — approach to the murder mystery thriller than by having it sitting right there in plain sight on a prominent streaming platform, begging to be watched and rewound. Probably multiple times over.
Running Time: 139 mins.
“Yeah, I’m trying real hard to buttress, but this sounds nuts.”
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