Glass Onion

Glass Onion ★★★★

I didn’t love Knives Out when I first saw it in theaters. I found all the characters insufferable and the twist a bit predictable. Upon rewatch, I began to admire the pure joy that Rian Johnson had making it, with each decision being consistently fresh or innovative. No one can question how original or breezy the pacing of his films are, even The Last Jedi; which subverts expectations too much for its own good, yet is undeniably a compelling watch. Brick made me a fan, a poignant debut full of melancholy, though I already was one without even realizing it (he directed “Fly” and “Ozymandias” for Christ’s sake, maybe my top 2 from Breaking Bad). My first thought when it ended, besides being excited by the end credits song choice, was that that may have been better than the first one. I must revisit it before finalizing such a take, but it’s undoubtedly a banger.

Ed Norton is the immediate standout amongst this gang of weasels (the Blackbird” joke killed me), though Kathryn Hahn and Kate Hudson are legit laugh out loud funny. Janelle Monae isn’t Ana De Armas, yet she holds her own alongside Daniel Craig, whose “Foghorn Leghorn drawl” charms the shit out of us once again. Knives Out may have the edge in terms of its emotional involvement as well as a more satisfying finale, yet I admire the sheer chaos and intricacies of every scene (it pulls the proverbial rug out from under us at the midpoint, though it’s not Snoke-level obnoxious. Johnson’s not trying to let the past die this time, he wants us to look deeper into it). Not including a spoiler alert, though the truth is more or less hidden in plain sight within this review. Stay thirsty, my friends.

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