Glass Onion (2022)
When writer/director Rian Johnson wanted to take a breather after his polarizing Star Wars movie, he tried his hand at updating the dusty-old Agatha Christie mystery genre, and in doing so created a highly-acclaimed and high-grossing film franchise. The man was just trying to do something different and at a smaller-scale with 2019’s Knives Out, and then it hit big and Netflix agreed to pay $400 million dollars for exclusive rights to two sequels. Now as Johnson has reinvented his career as a mystery writer the big question is: can he pull it all off again?
Renowned detective Benoit Blanc (Daniel Craig) has been invited to the world’s most exclusive dinner party. Miles Bron (Edward Norton) has invited all his closest friends to his Greek island soiree, setting up a murder mystery game his friends must spend the weekend solving. Except there are two interlopers: Andi Brand (Janelle Monae), the former partner of Miles who was betrayed by Miles and his cronies and… Benoit Blanc himself. Why was the detective invited to the murder dinner party unless someone planned on using it as an excuse to actually kill Miles?
Knives Out was a clever deconstruction of drawing room mysteries and did something remarkable, it told you who the murderer was early and changed the entire audience participation. Instead of intellectually trying to parse clues and narrow down the gallery of suspects, Johnson cast that aside and said it didn’t matter as much as your emotional investment for this character now trying to cover up her tracks while working alongside the “world’s greatest detective.” It made the movie so much more engaging and fun, and for his twisty efforts, Johnson was nominated for a Best Original Screenplay Oscar. Now, every viewer vested in this growing franchise is coming into Glass Onion with a level of expectations, looking for the twists, looking for the clever deconstruction, and this time It feels like Johnson is deconstructing the very concept of the genius iconoclast and including himself in the mix. The movie takes square aim at the wealthy and famous who subscribe to the idea of their deserved privilege, in particular quirky billionaires whose branding involves their innate genius (many have made quick connections to Elon Musk in particular). The movie’s first half is taken with whether or not Miles Bron’s murder mystery retreat will become a legitimate murder mystery, but by the midpoint realignment, Glass Onion switches into pinning down the bastard. It makes for a greatly satisfying conclusion as Blanc exposes the empty center of Miles’ calculated genius mystique.
As Blanc repeatedly says, the answers are hiding in plain sight, and this also speaks to Johnson’s meta-commentary of his own clever screenwriting. This is Johnson speaking to the audience that he cannot simply copy the formula of Knives Out. This is a bigger movie with more broadly written characters, but each one of them feels more integrated in the central mystery and given flamboyant distinction; it’s more like Clue than Christie. Through Miles’ influence, we have a neurotic politician (Kathryn Hahn), a block-headed streamer (Dave Bautista) pandering to fragile men on the Internet, a fashionista (Kate Hudson) who built an empire on sweatpants and has a habit of insensitive remarks, and a business exec (Leslie Odom Jr.) who admits to sitting on his hands until given orders from on high by Miles. All of these so-called friends are really bottom-feeders propped up by Miles’ money. It would have been easy to simply replay his old tricks, but Johnson takes the heightened atmosphere of the characters and plays with wilder plot elements of the mystery genre, such as identical twins and secret missions and celebrity cameos (R.I.P. two of them) and corporate espionage. The very Mona Lisa itself plays significantly into the plot (fun fact: Ms. Mona was not the universally revered epitome of art we know it to be until its 1911 theft). This is a bigger, broader movie but the larger stage suits Johnson just fine. He adjusts to his new setting, veers into wackier comedy bits with aplomb, and has fun with all the false leads and many payoffs. You never know when something will just be a throwaway idea, like the hourly chime on the island, or have an unexpected development, like Jeremy Renner’s hot sauce. Glass Onion is about puncturing the mirage of cleverness, and by the end, it felt like Johnson was also playfully commenting on his own meta-clever storytelling needs as well.
It’s so nice to watch Craig have the time of his life. You can clearly feel the passion he has for the character and how freeing this role is for an actor best remembered for his grimaced mug drifting through the James Bond movies. Craig makes a feast of this outsized character, luxuriating in the Southern drawl, the loquaciousness, and his befuddled mannerisms. After Knives Out, I begged for more Benoit Blanc adventures, and now with a successful sequel, that urge has only become more rapacious. Johnson has proven he can port his detective into any new mystery. Netflix has already paid for a third Knives Out mystery movie, and I’d be happy for another Blanc mystery every so many years as long as Craig and Johnson are willing. These are fabulous ensemble showcases as well with eclectic casts cutting loose and having fun. Norton (Motherless Brooklyn) is hilariously pompous, especially as Blanc deflates his overgrown ego. Bautista (Dune) is the exact right kind of blowhard. Hudson (Music) is the right kind of ditzy princess with a persecution complex. Her joke about sweatshops is gold. Jessica Henwick (The Gray Man) has a small role as the beleaguered assistant to Hudson’s socialite, but she delivers a masterclass in making the most of reaction shots. She made me laugh out loud just from her pained or bewildered reactions, adding history to her boss’ routine foot-in-mouth PR blunders.
There is one big thing missing from Glass Onion that holds it back from replicating the surprise success of its predecessor, and that’s the emotional lead supplied by Ana de Armas. She unexpectedly became the center of the 2019 movie and it was better for it. Glass Onion tries something similar with Andi Brand, and while she’s the easiest new character to root for among a den of phonies and sycophants, it’s not the same immediate level of emotional engagement. That’s the biggest missing piece for Glass Onion; it’s unable to replicate that same emotional engagement because the crusade of Andi Brand isn’t as compelling alone.
Glass Onion is a grand time at the movies, or as Netflix insisted, a grand time at home on your streaming device. It’s proof that Johnson can handle the rigors of living up to increased expectations, making a sequel that can stand on its own but has the strong, recognizable DNA of its potent predecessor. It’s not quite as immediate and layered and emotionally engaging, but the results are still colorful, twisty, and above all else, immensely fun and satisfying. I’m sure I’ll only think better of Glass Onion upon further re-watching as I did with Knives Out. Johnson once again artfully plays around with misdirects and whodunnit elements like a seasoned professional, and Glass Onion is confirmation that Benoit Blanc can be the greatest film detective of our modern age.
Nate’s Grade: A-
Posted on December 24, 2022, in 2022 Movies and tagged daniel craig, dave bautista, edward norton, janelle monáe, kate hudson, katherine hahn, leslie odom, mystery, netflix, oscars, rian johnson, sequel, thriller. Bookmark the permalink. Leave a comment.
Leave a comment