When Knives Out first premiered in 2019, it was an instant, surprise hit, with high box office numbers and critical reception through the roof. It was also my favorite film that I was lucky to see at Toronto International Film Festival that year; I’ll never forget the energy of the crowd that day.
Though it didn’t immediately seem like the jumpstart of a franchise, all the pieces were already there; from the subversive nature of the murder mystery itself to the one and only Daniel Craig to, of course, Rian Johnson behind it all. And with Glass Onion, Johnson has done it again, bringing together an exceptional cast, a finely tuned script, and some fantastic visual flourishes. It’s proof that sometimes lightning does strike twice.
The Murder Mystery
Glass Onion focuses on a group of friends who all get an invitation to their now wealthy friend’s lavish island destination. The crew includes governor of Connecticut Clair Debella (Kathryn Hahn), scientist Lionel Toussaint (Leslie Odom Jr.), ex-business partner Cassandra Brand (Janelle Monáe), fashion designer Birdie Jay (Kate Hudson), Birdie’s assistant Peg (Jessica Henwick), video game streamer Duke Cody (Dave Bautista), and Duke’s girlfriend Whiskey (Madelyn Cline). The friend they are visiting is eccentric billionaire Miles Bron (Edward Norton), who has known them all for years. And Benoit Blanc (Daniel Craig) has also mysteriously been invited.
The reason Miles has brought them here has also been for a murder mystery party; he sets up the scenario, that someone has killed him, and it is one of the people currently present at his household, giving clues as to who has done it. But soon, an actual incident does occur, and the so-called “game” has turned into reality, with Blanc seemingly the only one that can solve the case.
Different Scenario, But Just as Subversive
The reason Glass Onion works from the outset is that it is not indebted to the first film. Besides the inclusion of Craig once again, and an occasional reference to a story element of the first film, it is entirely its own entity. And such is true not only with the story beats, but also with the thematic elements of the film, the setting, and the characters within. Whereas the first is more of a subversive take on the classic whodunnit, here the mystery is more about just what exactly is going on with these characters as opposed to any specific death. And though the one-location, tight setting may seem like a classic Agatha Christie story (think And Then There Were None), it’s what Johnson does with this that manages to subvert your expectations.
The only other element that really ties this film to the first is its manner of “revealing” things early on. At some point on the island, Rian Johnson pulls you away from the central story to fill in some of (but not all) the missing pieces. This isn’t really a spoiler, though, because there is about a zero percent chance that you’ll guess exactly what is transpiring.
Visual and Auditory Elements
Even more so than the mystery at the heart of the film, Glass Onion is also even more hyped and absurdist than the first, in an unbelievable way that people may not immediately rally behind. But once you get behind its manic energy, it’s hard not to just sit back and have a rockin’ good time.
The visuals and camerawork do a lot to heighten the mood here, while also keeping the film flowing as well as it does. Johnson, along with Director of Photography Steve Yedlin, do a lot of storytelling through camera movements alone. These include: dolly shots to show movement, long camera pans, sharp zooms onto characters’ faces, and more. And the careful attention to precise camera shots works well with the visuals in the background. For example, at one moment he hides a character for a moment through a closeup shot of two others conversing, and then opens it up to show the hidden character suddenly sitting right there all along. It’s the type of moment that may seem out of place at the time, only to reveal its importance later on. Like all great mysteries, Johnson gives you clues throughout, which only the most eagle-eyed of viewers will pick up on, making it an ideal film for a rewatch.
The production design of Glass Onion, including the island, the fancy house, and the titular room itself, which is set up literally like a giant glass onion, is just as superb and over-the-top as one would expect from an eccentric billionaire. The film’s production has a real way of wowing you while at the same time shaking your head at the excessiveness of what people will buy when they have too much money.
The film is once again scored by Nathan Johnson, Rian‘s cousin, who here makes prominent use of an interesting instrument, the harpsichord, in a lot of the score, as well as strings and a buildup of brass instruments in some of the main themes. They all create the illusion of a grand adventure, which fits the theme of the characters coming to a majestic island, while hiding the true nature in sly ways. Oh, and keep your ears open for some truly well-timed needle drops as well, including the titular song.
The Cast
One of the reasons the Knives Out franchise (don’t tell Rian Johnson I called it that) works as well as it does is because of Daniel Craig‘s inclusion. Craig is devotedly along for the ride, bringing once again his ridiculously exaggerated southern drawl. But what works really well with the character, besides Craig‘s comedic timing of course, is just how sympathetic he is. As opposed to in other proficient detective stories (see: Benedict Cumberbatch‘s Sherlock), in which our main detectives are arrogant and unlikable, instead Craig‘s Blanc is quite the opposite. Though he may still be more aware than he lets on, he tends to step back and let the rest of the characters fix their own stories as opposed to being the method by which they are solved. Craig is a welcome addition to the journey, and it wouldn’t work without him, but it’s in both his performance, and through Johnson‘s writing, that the rest of the cast gets their chance to shine.
Speaking of which, Glass Onion is filled to the brim with talent. Kate Hudson brings a somehow likable charm as the not quite politically correct fashion designer Birdie; the character’s sense of style is excellent, but it’s her life faux pas choices that are the real facepalm moments. Edward Norton is stellar as the goofy eccentric billionaire Miles, playing him with the right balance of arrogance and clumsiness.
Dave Bautista, Leslie Odom Jr., and Kathryn Hahn have a few brief moments within the film, as the script utilizes the best of their comedic abilities, though they do seem more underused overall. And others, like those played by Jessica Henwick and Madelyn Cline, don’t have much impact on the plot; either way, they’re still a welcome addition to a well-rounded cast. Oh, and also keep an eye open for some unexpected faces to appear on screen at various points. I can’t say I expected this many cameos in this type of film, but thankfully they are not too distracting to the story.
Amongst the central cast, though, it’s Janelle Monáe who really steals this show. I can’t say exactly how without revealing a major plot spoiler, but suffice it to say that she does an incredible job, especially in the film’s final moments, which require a precise level of physical prowess along with her comedic timing. She’s a joy to watch on screen, and I sincerely hope that other movies learn to utilize Monáe in such a way in the future.
The Timing
If there’s one more thing to mention about Glass Onion, it’s the timing of it. Rian Johnson himself had the following to say in a recent interview: “A friend of mine said, ‘Man, that feels like it was written this afternoon.’ And that’s just sort of a horrible, horrible accident, you know?” But horrible accident or not, there’s a prescience to a lot of the best art out there. Great artists seem to somehow latch onto the cultural zeitgeist, satirizing it in outlandish ways, until you suddenly realize that their ideas might not be so outlandish after all when they start to become closer to reality.
In Glass Onion, I once again can’t reveal too much. But let’s just say that some of the characters here (one in particular) seem to represent a specific type of person, in a way that has become even more newsworthy in recent weeks. Rian Johnson‘s uncanny ability to latch onto not only this very specific type of person in his writing, but the shifting cultural attitude towards them as well, may just make Glass Onion stand out all the more.
Conclusion:
To conclude, Glass Onion is a well-made, multilayered murder mystery, whose appeal lies not only in its subversive story but in its prescient ability to predict the future. Round that out with an A-list cast, some impressive set design and cinematography, and a playful score, and you have one of the best films of the year. I truly can’t wait for the next one.
Glass Onion is now streaming on Netflix.
Watch Glass Onion
Does content like this matter to you?
Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.