The key word in “Glass Onion,” Rian Johnson’s enjoyably deft sequel to “Knives Out,” is “disruption,' film critic Justin Chang writes.
Seek out those crowds, if you feel so moved; the sound of other people’s laughter may drown out a plot point or two, but you’ll experience worse distractions at home. The characters in “Glass Onion,” for their part, have been cooped up for too long. It’s May 2020, in the early days of the COVID-19 pandemic, and Miles Bron , the aforementioned punchable billionaire, has invited his pals to his private island for a weekend escape.
As the two designated outsiders here, they forge an instinctual bond early on that may remind you a bit of Craig’s rapport with Ana de Armas in “Knives Out.” Maybe that’s a red herring on Johnson’s part, or on mine. Suffice to say that Monáe’s splendid, surprising performance is one of the movie’s foremost pleasures, achieving a heft and versatility that throws her co-stars’ amusing if paper-thin antics into sharp relief.
But if “Knives Out’s” manor house full of rotten apples hews close to the classical detective story template, the suspects in “Glass Onion” feel drawn to more contemporary specifications. You might have cast a vote for an outwardly respectable, privately on-the-take politician like Claire or laughed at the YouTube videos that have made Duke and his girlfriend, Whiskey , a popular duo in men’s rights discourse.
If the actual solution doesn’t turn out to be as elaborate or airtight in its construction as “Knives Out” was, that’s partly because the satirical dynamics — the inequity between the power Miles wields and the friends cowering and seething in his shadow — don’t entirely allow for it.
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