What makes it a more satisfying movie is that Rian Johnson sits with his characters rather than immediately flaunting their depravity.
Photo: John Wilson/Netflix
The rich are richer glass onionthe sparkling sequel to Take out the knives Which had its premiere at the Toronto International Film Festival, and is arguably more outrageous — or at least outrageous in bigger, more obvious ways. While Rian Johnson’s 2019 novel focused on the dwarfed relatives of a famous novelist, the people who made at least some pretense of respect, his new novel turns its attention to a group of “vandals” notable enough to carry out their nefarious deeds on the spot. in the open. Claire DeBella (Catherine Hahn) is the Connecticut governor and aspiring senator who speaks assertively on CNN while quietly agreeing to untested technology for donor money. Lionel Toussaint (Leslie Odom Jr.) is the chief scientist at Alpha, which is responsible for that untested technology, and he has rushed schedules and skipped safety measures at the behest of his boss. Birdie Jay (Kate Hudson) is a media personality turned ethnic gang brand owner who is so prone to viral scandals that her assistant Peg (Jessica Henwick) is her phone keeper. Duke Cody (Dave Bautista) is a social media star who has taken a turn to the alt-right, using his permanent gun and younger girlfriend, whiskey (Madeleine Klein), as props.
The richest and most elusive of them all is Miles Braun (Edward Norton), who hosts a weekend during which the mystery unfolds, a magnate and putative genius who doesn’t seem to actually do much except create self-myths and use his money to pay people. It owes a little more to Elon Musk, but these crumbling pillars of contemporary society are designed to feel at least a little familiar. (Perhaps all too familiar, in the case of Hudson, who is an absolute screamer like Birdie’s vapid, but her energetic brand has been privy to accusations of labor abuse not unlike those made by her character’s company, an affinity that is a joke to the public.) glass onion Bigger and more meticulously designed than Take out the knives, but what makes it a more satisfying movie is that it sits with its characters more rather than immediately bragging about their depravity. Instead, they’re the kind of void that comes from the smaller, lifelong moral compromises, until you’re suddenly on a Greek island with some old friends, and contemplate murder.
There’s clearly a murder, though, and although it happens toward the end rather than the beginning of the movie, tensions simmer over the course of an annual meeting on the private Greek island of Miles, where he builds a delightfully hideous mansion that includes a translucent dome filled with billionaire decor and a bachelor-douche pillow. The Taj Mahal. This year, Miles plans to throw a mysterious murder party, even though he has two surprise guests. Andy (Janelle Monae), the former business partner who sued him in vain, was not expected to show up when he fired her from their company. Benoit Blanc (Daniel Craig), principal investigator from Take out the knivesHe was never invited, yet somehow became a recipient of one of the custom puzzle chests that Miles sent out to select attendees. Craig’s palpable joy in playing Plank, with his neck napkins and Southern fried accent, is infectious, and glass onionThe longer closing process allows for a glimpse into the character’s personal life, which includes some random and fun engravings. Johnson allows events to move into a pivotal partisan sequence that has become tense with a bit of a quick edit, and then takes us back to the beginning, revisiting the scenes from different angles and with new information.
For all intricately constructed and positioned in a palatial location on the Mediterranean, glass onion It has an underlying context that is not at all strange – it’s a movie that plays out at the start of the pandemic without feeling consumed by it. Instead, COVID serves as the backdrop but is also the source for some of the main character details, from the famous painting that Miles managed to get on loan from a museum to the useless mesh face mask that Byrdie favors. Movies that happen during the early days of our global acquaintance with the novel coronavirus tend to feel the same way, because many of us have been sitting at home, feeling horribly scared, isolated and bored. But the characters in glass onion They are not the type to feel that they will be subject to those same rules, even those who nominally consider themselves more responsible. They’re essentially doing a very short, refined version of capsule formation, rushing straight into the dramas that accompany the collapse of many similar arrangements. unlike Take out the knivesthat almost self-congratulatory in its politics, glass onion He allows his class criticisms to be included in the profiles of the group of fraudulent suspects, who also live in a moment that temporarily united much of the world, but who are not at all like the rest of us.