Within the first few minutes of Glass Onion: A Knives Out Mystery, there’s a sense that it’s buckling under pressure. Rian Johnson’s humble whodunnit was a surprise smash, providing him a blank check for two additional installments. Naturally, expectations are high for another star-studded, thrilling murder mystery with Benoit Blanc, so it’s not surprising that our first Knives Out follow-up immediately leans into that.
As opposed to the last film, which began with Ana De Armas’ central protagonist, Glass Onion begins by establishing most of our star-studded suspects, all of whom receive a mysterious puzzle box from mutual friend and billionaire Miles Bron (Edward Norton). Amongst them are a corrupt Connecticut governor (Kathryn Hahn), a ditzy fashion icon (Kate Hudson), and a gun-toting YouTube star (Dave Bautista), to name just a few. Johnson is back for the jugular, now tackling punchable personalities in the pandemic era, setting the story firmly in the months of the 2020 lockdown.
The last film may have featured a few notable modern reference points––memorable lines about Hamilton and “liberal snowflake” come to mind––but it still felt timeless in a way that made it fun to revisit time and time again. Glass Onion too closely feels like a product of its time and pop culture success, loading its first act with low-hanging jabs at pop culture and a surprise onslaught of celebrity cameos to the point of pandering.
Also among the invited guests is our new favorite detective, Benoit Blanc, effortlessly portrayed once again by Daniel Craig. However, in another stark contrast from its predecessor, the film’s bloated first act incorporates Blanc as the audience surrogate, following his interrogation into a group of long-time friends. The original Knives Out knew that Blanc was a strong character, but not necessarily the main character. He anchored the whodunnit as a thread to unravel, but it was De Armas’ show. As fun as Craig’s southern shtick is, it isn’t sustainable in an arc. At least in the first act, it feels as though Johnson is leaning into Blanc’s fan-favorite reputation and losing sight of his own invention.
However, if there’s one thing that Johnson’s work has taught us over the years, from Looper to The Last Jedi, nothing is ever as it seems. As the second act begins with a stunning twist that turns the entire story on its head, much like the original Knives Out, it becomes clear why Johnson has been tasked with these movies in the first place. The entire first act is reframed with new purpose, with Johnson raising the stakes of the story to a point that it, ironically, surpasses the original in twists and turns.
Glass Onion also surpasses its predecessor in terms of its murderers row. Though its predecessor’s ensemble was larger in terms of sheer numbers, this smaller and more intimate cast of characters is far more complex and intricately interwoven. Norton leads the bunch as a self-proclaimed “disruptor,” portraying his tech-giant billionaire archetype with just enough heart and charm to make you believe there’s something more to him. Hudson is our main source of comic relief, a takedown of the idiotic celebrity buffoon that the actress nails with impeccable comic timing. However, the film’s real anchor ends up being Janelle Monae, portraying Bron’s former business partner, who likely will end up being the fan-favorite character when it releases this holiday.
The technical achievement of Glass Onion sees Johnson reuniting with several previous collaborators, including cinematographer Steve Yedlin, production designer Rick Heinrichs, and composer Nathan Johnson. All of their talents help to place this film’s visual and sonic identity firmly in the aesthetic of Knives Out, only far more ambitious. Miles Bron and his private Greek island is a big step up from the Thrombey’s quaint New England mansion, but it’s captured to gorgeous effect. The titular Glass Onion itself, a crystalline dome at the center of Bron’s island, is incredibly well-realized, surely through both smart lighting design and some visual effects.
It’s also comforting to see Johnson still playing with the camera in all the best ways. Unlike the self-serious aesthetic of Branagh’s literal Agatha Christie remakes, Johnson more effectively captures Christie’s heightened stories with his playful lighting tricks, fluid camera movements, and beautiful composition. As you can infer by the title, Johnson has a particular interest in glass, incorporating it as a symbol in more than just a few shots, much to any film fan’s utter delight. One sequence in the third act particularly uses glass to outrageous effect, laying the groundwork for a stellar culmination of events that will surely satisfy audiences.
By the time the film reaches its conclusion, the film’s status as one of Hollywood’s most exciting original prospects is cemented. Though time will tell if it can maintain a status as evergreen as the original, we all should be thankful Netflix will continue to bankroll Rian Johnson’s love letter to whodunnits for (at least) one more installment.
“Glass Onion: A Knives Out Mystery” had its World Premiere in the Special Presentations section of the Toronto International Film Festival 2022. The film will be released in limited theaters on a date yet to be announced. It will make its streaming debut exclusively on Netflix on Friday, December 23, 2022.
Director: Rian Johnson
Writer: Rian Johnson
Rated: PG-13
Runtime: 139m
"Glass Onion" has a bloated first act that may pander to its place in pop culture, but a stunning twist in the second act engages you in a thrilling whodunnit that will surely satisfy.
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Larry Fried is a filmmaker, writer, and podcaster based in New Jersey. He is the host and creator of the podcast “My Favorite Movie is…,” a podcast dedicated to helping filmmakers make somebody’s next favorite movie. He is also the Visual Content Manager for Special Olympics New Jersey, an organization dedicated to competition and training opportunities for athletes with intellectual disabilities across the Garden State.
