Glass Onion: A Knives Out Mystery
The biggest mystery facing the Glass Onion is not the true identity of a murderer. You don’t have to peel the layers of this proverbial onion to know there’s a far broader question being asked: would Netflix somehow screw this sequel up? I’m delighted to report that Rian Johnson’s follow-up to Knives Out will make the transition to streaming without so much as a scratch. The central mystery remains gripping, the pacing taut, and the cast suitably stellar. This whodunnit is fresh, smart, and most importantly fun.
Daniel Craig returns as Benoit Blanc, the debonair southern detective. This time around, Blanc is invited to an isolated Greek island by billionaire Miles Bron (Edward Norton, giving Elon Musk post-burning man vibes.) Bron has invited several of his closest friends for a weekend getaway that just happens so happens to include a murder-mystery game. Things go wrong faster than you can say “bad idea.”
I was worried that Glass Onion would suffer from an overreliance on Craig’s detective. Knives Out benefited immensely from a core focus on Ana de Armas’ fish-out-of-water character. The film smartly employs him as a foil for its many new cast members. The new faces are stellar across the board. Janelle Monae shows incredible versatility. Leslie Odom Jr. and Kathryn Hahn have the tough job of playing the respective sticks in the mud while the rest of the cast gets to have fun. Kate Hudson and Dave Bautista really let it rip. We’re used to this from Bautista, but it is a particularly welcome departure for Hudson. As I reflect back on the past years of the pandemic, her character provides particular hilarious relief. There are also several delightful cameos. I won’t spoil them for you, but suffice it to say it seems like nearly everybody wanted in on this thing.
Whodunit films seem to be light work for Rian Johnson. His 2005 debut, Brick, was an exceptionally hard-boiled film noir that just happened to be set in a high school. Despite their common director, Brick and Glass Onion could not be more different. Where Brick was pitch black noir down to its very bones (even down to the dialogue), Glass Onion is a sun-drenched delight inspired by holiday mysteries such as Evil Under the Sun and The Last of Sheila. It provides necessary effervescent support as we head into the cold winter months. I can’t wait for the next chapter!
While watching Only, I was furiously taking notes because I wanted to remember every little nuance I was experiencing. From the opening scene, the imagery is haunting and a sense of doom and urgency sit in the pit of your stomach. The phenomenally edited film builds its intensity through non-linear storytelling. While it can be a challenge to follow at times, it is an effective way to make sure you are paying full attention. At every turn in the script, I was surprised. Its dark premise will take you down a rabbit hole of needing to find answers. Once the puzzle is solved and all the pieces are in place, your stomach will drop and your soul will weep. The captivating performances from Frieda Pinto and Leslie Odom, Jr. help Only stand apart from Tribeca’s other selections this year. Their chemistry is electrifying. With subtly suggested elements of Handmaids Tale weaved into the narrative, this post-apocalyptic tale has an eerie patriarchal theme that makes it all the more upsetting. Only is easily one of the best of the fest this year.
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