One of the most popular scenes from Rian Johnson’s Knives Out in 2019 was the bit where Benoit Blanc (Daniel Craig) a detective in the mould of a Louisianian Poirot makes the “donut hole” analogy about the missing puzzle piece in the case. It works as an incredibly amusing piece of writing, as both a ridiculous concept and an insight into the bizarre way this characters’ mind works -there’s a reason it’s perhaps the most oft quoted observation from the movie. But in a weird way it also makes sense.
A Glass Onion is a perfect Benoit Blanc metaphor, one that as he explains a couple times in this sequel of that name, once again written and directed by Rian Johnson, is a fascinating contradiction: the illusion of several layers of complexity and yet with a root that is perfectly transparent. It’s also a pretty good deep-cut Beatles reference. Blanc doesn’t come up with it out of cloth though, it happens to be the real name and design of the estate at which his next case is set -one that concerns various wealthy elites connected to the tech industry gathered together on a private Greek island where murder is the theme -both intentionally and unintentionally.
As with Knives Out there are a few twists and turns and conscious subversions that change the direction of the action in this movie. However the basic premise is that a tech mogul Miles Bron (Edward Norton) invites his closest friends whose own fame and fortune he has largely bankrolled, to his private island for a murder mystery themed weekend party. They are collectively called the Disruptors and include a politician Claire (Kathryn Hahn), a scientist Lionel (Leslie Odom Jr.), a mens’ rights vlogger Duke (Dave Bautista) and a fashion designer Birdie (Kate Hudson). Accompanying Duke is his girlfriend Whiskey (Madelyn Cline), and with Birdie is her assistant Peg (Jessica Henwick). Also, Miles’ betrayed former partner Cassandra (Janelle Monáe) or “Andi” unexpectedly joins them -and even more unexpectedly, Benoit Blanc, who was sent an invite anonymously.
Once again in the vein of Agatha Christie, there is no carryover plot from Knives Out, rather it is simply a new case that Blanc is involved with. And yet there are certainly several devices from that earlier movie that Johnson keeps in play. The sense of humour is a big one, Glass Onion is just as funny if not more so than its’ predecessor, and gives more over to the comic side of things -it’s clear Johnson paid attention to the response to Knives Out and hones in on those elements that audiences gravitated towards. The structure of the plotting and especially the twists is also similar, though to the point they feel less spontaneous. Once again flashback is incorporated to show a new angle on things, a different narrative taking place in the backdrop of the one we see initially. Here though it ties in nicely to that theme of onions, as the story peels its’ layers back and reveals new contexts, new motivations. Still, it’s not as strikingly original, and Johnson can’t resist a couple dry tropes of the murder mystery genre.
And yet there’s little particularly diminished by this, owing to just how fun and cleverly laid out the story is. It compensates constant misdirects with its’ fiercely dedicated energy and creativity of character. It may fall into convolution occasionally, but the wit in execution makes a cogent case for it. I also appreciate that a considerable portion of the plot is given over just to finding out what the mystery is -it takes a lot longer than in Knives Out for murder to be committed. For a long time, the pieces are in place but haven’t been moved, and Blanc is endeavouring to get ahead of a seemingly inevitable crime while the exact nature of that crime remains elusive.
All the while he and the other guests take in the paradisaical island, this film clearly drawing at least a little bit on the best Christie novel, And Then There Were None. It’s a very fun cast to showcase here, with a strong set of personalities. Johnson seems to particularly relish in asshole characters -and here that makes up almost everyone: a gang of provocateur “shitheads” as one character frequently calls them. Bautista, who channels a little bit of Joe Rogan in his white male grievance politics, is a particular highlight of this circle, as is Hudson, an airhead who can’t help her frequent racist faux pas. But the real standout of the film has to be Norton, who begins a fairly generic arrogant billionaire archetype only to gradually become more of a fun, callous idiot as things progress. It’s a confident comic performance like I haven’t seen from Norton before, easily one of his best in recent years. I’d be remiss not to also mention Monáe though, who gives one of her most complicated, demanding roles yet as the angry reformed Disruptor and pretty clear prime suspect even before anything has happened. There are interesting layers to her character I won’t discuss, but Monáe plays them quite effectively. And of course Daniel Craig is just as much a delight as the folksy southern detective as he was last time -though taking a much more active role in the narrative drive, including coming up with a few machinations of his own. His interplay with the other actors is a lot of fun, especially Norton -and he gets more than a few deserving moments of applause in a line reading or remark or of course a classic detective-solving-the-case speech.
It’s a thrill, but at the same time this movie can’t help but feel a touch shallow, and I think that is owing to the comparative weakness of its’ social commentary. Glass Onion takes a lot of digs at the big tech industry, at irresponsible billionaires and their shady investments, but it lacks the certain personal bite that Knives Out had -I think because it is missing a Marta character. There is one who takes that role of the figure on the outs of the others and who becomes Blanc’s assistant, but they aren’t such a focal point as Marta -who it may be forgotten was more of a protagonist of Knives Out than Blanc. Several of this movies’ points of commentary are also undercut by its’ humour, its’ self-awareness, and its’ own cleverness -to the point it doesn’t feel as sincere as its’ predecessor. A heart to the movie is harder to identify. And maybe Johnsons’ subject of ire is too easy this time around.
His direction is still sharp however as he gives the movie both a look and a momentum starkly different to his previous works. He borrows a few De Palma techniques in this one, plays a little bit in the action thriller space. Steve Yedlin’s cinematography takes full advantage of the gorgeous Greek setting, and the perfect modernist excess of Brons’ compound. Works of art play a significant role in this film as symbols of Brons’ gaudiness and so they are displayed with flare. Johnson also incorporates a few nice surprises: there are some cameos early on that are particularly satisfying (one of which is very bittersweet). There’s another one about the midway point that seems to suggest Johnson has found the Captain Hastings to Benoit Blancs’ Poirot. However I still don’t understand what Ethan Hawke was doing in the movie -who shows up for one scene as a character who even by the end seems particularly pointless.
I have some reservations with this film, but there is no doubt Glass Onion is ambitious, and it does earn a lot of that ambition. As a standalone murder mystery it more than satisfies, even if it comes up short of what its’ predecessor accomplished. Johnson and Craig have stated their intention to keep doing Benoit Blanc mysteries as long as they can -they clearly both enjoy it immensely. And I’m still all for it as long as they can find new ways to shape the formula. Though maybe paying a little closer attention to those virtues of Knives Out wouldn’t be the worst idea.
Glass Onion releases on Netflix December 23rd following a yet to be determined theatrical window.
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