RianJohnson reteams with DanielCraig for the delightfully complicated KnivesOut sequel Glass Onion.
Like the drawling Southern detective he has now placed at the center of two fabulously entertaining clockwork whodunits, Rian Johnson should not be underestimated. The writer, director, and blockbuster puzzle enthusiast has a gift for luring his audience onto ornately patterned rugs, then giving their edges a powerful yank. Glass Onion at first seems like a more straightforward, less elegant act of Agatha Christie homage than its predecessor, the murder-mystery sleeper Knives Out.
Thankfully, he wastes little time getting his fresh ensemble of suspects out of quarantine and onto an island in Greece that’s as extravagantly designed as the movie itself. Peaking with a glowing tower capped by a literal glass onion, the island could also double as a classic Bond villain lair. Craig may have hung up the tuxedo for good, but like Pierce Brosnan before him, he’s likely destined to keep jetting off to exotic locales under the shadow of that iconic role.
Knives Out proceeded at a giddy scramble, complicating the rooting interests of its investigation and redefining its rules every few minutes; that was all part of the movie’s high-wire fun. Glass Onion takes its time a little more. Forgoing the crosscutting interrogation sequence that opened the previous movie — an ingenious device best not diminished through repetition — Johnson instead doles out the pertinent exposition gradually.
If there’s an ideological framework to this franchise of smoke and mirrors, it’s a puckish distrust of the filthy rich. Here, Johnson’s class consciousness manifests as a pointed skewering of tech-era robber barons obsessed with “blowing up the world,” in a figurative sense that could too easily become a literal one. That’s just good, wholesome fun, dunking on the ego of the billionaire class.
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