What makes this a more satisfying film is that Rian Johnson sits down with his characters, rather than immediately showing his decay.
Photo: John Wilson / Netflix
rich people are richer glass onionRadiant Sequel knives out It premiered at the Toronto International Film Festival, and was arguably more terrifying — or, at least, in terrifying and more visible ways. While Rian Johnson’s 2019 whodunit focused on the underdeveloped relatives of a famous novelist, those who at least pretend to be respectful, their newfound focus shifts to a group of “disruptors” who seek the right practice of their respective gifts. There are enough heads to do in the open. Claire Debella (Kathryn Hahn) is the governor of Connecticut and an aspiring senator who speaks tough on CNN while quietly approving untested technology in exchange for donor money. Lionel Toussaint (Leslie Odom Jr.) is the lead scientist at the company, Alpha, that is responsible for that untapped technology, and has abandoned deadlines and security procedures at the behest of his boss. Birdie J (Kate Hudson) is a media personality who owns a sweatband brand that is so plagued by viral scandals that her assistant, Peg (Jessica Henwick), is the keeper of her phone. Duke Cody (Dave Bautista) is a social-media star who has turned to the alt-right, using his current gun and his much younger girlfriend, Whiskey (Madeleine Cline) as props.
The wealthiest and most repellent of them all is Miles Bronn (Edward Norton), host of the weekend getaway during which secrets are revealed, a mogul and supposed genius who doesn’t really do much other than self-mythology and his Uses money to push people around. He owes little more to Elon Musk, but these crumbling pillars of contemporary society are designed to feel at least a little familiar. (Perhaps too familiar, in the case of Hudson, who is an absolute scumbag as Vapid Birdie, but whose activewear brand not unlike her character’s company, has been privy to allegations of labor-abuse, a convergence that has led to viewership The joke is worth more than itself.) glass onion larger and more precisely designed than knives out, but what makes this a more satisfying film is that it settles in with its characters and not immediately shows their decay. Instead, they have a sort of hollowness that comes from a lifetime of small moral compromises, until suddenly you’re on a Greek island with some old friends contemplating murder.
There is apparently a murder, although it occurs eventually rather than at the beginning of the film, with tensions rising during an annual gathering on Miles’ private Greek island, where he has built a delightfully hidden mansion with a see-through. The filled dome includes the billionaire bachelor-pad with decorations – a douchebag Taj Mahal. This year, Miles intends to throw a murder-mystery party, though he has two surprise guests. Andy (Janelle Monáe), the former business partner who unsuccessfully sued her over booting her from his company, didn’t expect her to show up. and Benoit Blanc (Daniel Craig), Master Detective from knives out, wasn’t invited at all, and still somehow became the recipient of a custom puzzle box that Miles sent to his chosen attendees. Craig’s apparent delight in playing Blanc, with his neckerchiefs and southern-fried accent, is infectious, and glass onionThe long run offers glimpses into the character’s personal life, which includes some random but enjoyable cameos. Johnson allows events to spin into an important party sequence that goes awry with its slightly too-quick editing, and then takes us back to revisit scenes from different angles and with new information.
For all this it is intricately built and situated in an extraordinary Mediterranean location, glass onion It has an underlying context that isn’t alien at all – it’s a film that takes place toward the start of the pandemic, without being consumed by it. Instead, COVID serves as a backdrop, but is also the source of some key character details, from the famous painting that Miles managed to get loan from a museum for a useless mesh face mask that Birdie likes. The films set in the early days of our global introduction to the novel coronavirus all feel the same, as many of us were just sitting at home, feeling frightened and isolated and very bored . but the characters glass onion There are not people who would feel like they would be subject to the same rules, even those who consider themselves to be nominally more responsible. They’re basically doing a smaller, and very high-end, version of making a pod, accelerating the plays that come with the slowdown of many similar arrangements. Different knives outwhich in its politics is based on self-congratulation, glass onion allows criticisms of its class to be built into the characteristics of its gallery of scumbag suspects, living through a moment that temporarily unites much of the world, but which the rest of us Not like people at all.