Before we peel the Glass Onion, let’s step back to 2019. Rian Johnson is two years removed from the divisive The Last Jedi. Any hope he’d continue to take Star Wars in a brave, bold direction is quelled. This lingering disappointment raises a question: Will Johnson ever helm a film series?
Yes, actually. He’d just have to carve it himself.
After a killer first installment and a nearly $500 million bidding war, the director is all in on Knives Out. The inaugural outing was lauded for its explosive cast, striking setting and mystery that both paid homage to and reimagined the whodunnit. Like vultures on a corpse — “beaks bloody” and all — fans were ravenous for more.
Three excruciatingly long years later, we have the chance to take a reckless bite out of the (mostly) standalone follow-up, Glass Onion: A Knives Out Mystery.
The film isn’t exactly a “step up” from its predecessor. It’s more like a stealthy shimmy along the wall of a familiar, albeit poorly lit courtyard at midnight. Glass Onion’s sharp, hysterical and explosive — sometimes literally. Suggesting it outshines Knives Out is a stretch, but it’s a more than worthy companion to an instant classic.
Blanc, Not Bond
Those who felt Detective Benoit Blanc (Daniel Craig) was previously underexposed will find an abundance of the sleuth here. Placed against the backdrop of COVID-19, Blanc spends the better part of lockdown soaking in his tub losing at Among Us to Natasha Lyonne and late greats Stephen Sondheim and Angela Lansbury. Anxious for his next great case, an invitation locked by a combination of “amateur” puzzles summons him to a Greek island for a billionaire’s murder-mystery party.
Blanc’s giddy solve any crime, even if it’s fictitious. As such, Craig’s performance is noticeably more animated. While this isn’t out of character, it does leave less of an opportunity for the character’s quippy, strategic timing.
The lead — a role Craig unquestionably assumes this time — is no action hero. Of course, folks thirsty for car chases, shootouts and karate fights should already know which face of Craig they really want. Still, Glass Onion certainly reveals more layers of Blanc and his mystery-solving process. We even get a peek into his weakness: others’ stupidity.
Above all, Blanc encourages us to cling to every shot and piece of dialogue. Where Knives Out was more of a rollercoaster, Glass Onion’s Blanc turns the film into a two-hour I Spy spread.
Meet Your Disruptors
Knives Out wouldn’t be Knives Out without a stellar ensemble. Before the first body drops, at least one thing should be clear — Glass Onion’s crew doesn’t top the freshmen class. That’d be a tall order for any film.
None of this is to say the new wave of possible perps don’t get the job done.
At the center of the Glass Onion is Miles Bron (Edward Norton), the co-founder, CEO and playboy manbaby behind Alpha. His company produces everything from television to electronics, fuel sources and pretty much everything else that would afford one a private island complete with a helipad for a limited edition, baby blue Porsche.
Of course, Miles isn’t the only one reveling in his “self-made” success. Also invited to the murder mystery is his group of “disruptors,” each with their own claim to fame:
Each brings their own bombastic flair, and none of their hands are entirely clean. There are a few moments when establishing their larger-than-life presences keeps the film from taking off. In fact, the actual murder doesn’t take place until roughly an hour in.
Still, Johnson channels them appropriately. These suspects do far more to propel Glass Onion’s intrigue than muddy it. Monáe’s contribution is especially worthwhile, while Norton, Hudson and Bautista bring the perfect dose of insufferable energy.
“The Golden Titty”
This outing sets a loose template for Knives Out. An affluent figure brings together a dependent collection of cohorts for a tense night of celebration. Then somebody dies.
It’s not completely reinventing the murder mystery, nor does it need to. The director’s first film, Brick, proved he had an early knack for the genre. Thus, Glass Onion’s plot is similar only in the barest terms. False leads and red herrings abound, Johnson has a knack for burying killer clues where we least expect them.
Except at this point, we expect them everywhere. This has the potential to derail curiosity and spur confusion. Fortunately, Johnson’s a bit of a Nathan Fielder when it comes to Knives Out. There are few stones the audience will look under that he hasn’t overturned himself.
Inevitably, what we least expect might just be the obvious outcome. Glass Onion doesn’t make the journey to get there any less rewarding.
