Writer/director Rian Johnson is too smart for her own good.
The man who helped the tank”Star Wars” but revived the mystery genre with “Knives Out” returning with his new muse, Daniel Craig.
“Glass Onion: A Knives Out Mystery” reunites the pair in a mystery involving Big Tech, greed, and the fractured relationship of friendship.
It was a flurry of love, the perfect love for our dark times. Except that Johnson can’t be left alone and he’s been weak in tough finals.
Craig returns as Benoit Blanc, the Southern detective who apparently has a gay lover living with him. That factor was introduced early and ignored, a good signal of the top order.
Benoit and a group of colorful people (Agatha Christie would have been proud) gather at the lavish retreat of a tech billionaire.
Why?
Miles Bron (Edward Norton, welcome back!) hosts an annual event with his inner group of “troublemakers”. It was an excuse to assemble a group of weirdos led by Dave Bautista, Kate Hudson, Leslie Odom, Jr., etc.
The main event of the weekend? A murder mystery initiated by Miles. What he doesn’t realize is that someone might take the “killer” part of the game seriously.
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“Glass Onion” begins on a sour note as some of the main characters don COVID-19 masks before entering Miles’ Greek retreat. It’s a terrible reminder of the lies and death we’ve endured lately, and the inclusion doesn’t make any sense.
Also, if Benoit is as smart as we believe, then why is he wearing a mask outdoors?
Johnson’s tone confusion will be cast aside while we’re in Miles’ realm. The screenplay ends, setting up the characters with bubbly spirits brimming with good laughs.
Mysteries shouldn’t be this exciting, but that’s the trademark of Knives Out.
The script allows Johnson to make some rich observations, and Benoit’s keen eye makes things all the more gratifying. He mocks the rich again, but the script is never slow to wave at his characters.
Too bad the story involves a major rewind feature that slows down the giddy momentum.
Janelle Monae gets the most intriguing role as Miles’ ex, whose motivations rock the first scene of the film. Her story expands dramatically over time, giving “Glass Onion” its gritty soul.
Norton makes sure Miles doesn’t ape Mark, Elon, or any other type of obvious big tech. He is boastful but sweet, a man content with his wealth and eager to share it with his friends.
However, his taste for troublemakers leaves much to be desired. Hudson’s character, an air influencer, doesn’t seem worth a second look. It’s just one of many jokes that add to the story and give “Glass Onion” texture.
Likewise, spending time on Miles’ estate is also a pleasure. It’s a beautiful backdrop to a mystery, filled with vast gardens and interiors that suggest endless escape routes.
What Johnson assembles, however, often feels like a screenwriter’s wonderland increasingly detached from the human experience. Just because you can create an intricate puzzle of death, deception, and mayhem doesn’t mean it will appeal to an audience.
“Glass Onion” ends on a loud note, betraying the subtlety Johnson has worked so hard to build in the film’s dense length.
Less is always more, something Johnson and his mystery series have yet to learn.
Hit or miss: “Glass Onion: A Knives Out Mystery” is as enjoyable as the original, but we already have a feeling that the series doesn’t know when to stop.
