Movie Details
Glass Onion: A Knives Out Mystery(2022)
Director: Rian Johnson
CastDaniel Craig: Plays Benoit Blanc
Ed Norton: Plays Miles Bron, a billionaire
Dave Bautista: Plays Duke Cody, a men’s rights activist and YouTube star
Kate Hudson: Plays Birdie
Kathryn Hahn: Plays Claire
Madelyn Cline: Plays Whiskey, Duke’s girlfriend and work assistant
Ethan Hawke: Plays “Efficient Man”
Jessica Henwick: Plays Peg, Birdie’s assistant
Movie type- Mystery/Crime
Release date- 10 September 2022
IMDB Rating-7.1
Languages- English.
Duration-2 Hour 19 Minutes
Trailer
Synopsis
So write it when you like it the most. These assignments are absolutely the best, ladies and gentlemen. One then ends up being a devil’s advocate with a text that doesn’t look much like a review, but rather a reflection on oneself. But at the beginning and at the end of this text I will praise Rian Johnson. A person who wholeheartedly hates the eighth episode of Star Wars and considers Rian a visionary, but also a brash auteur who sometimes breaks the rules out of pure malice. The world of Benoit Blanco, the open-minded and probably the best detective in the world, in a light-hearted performance by Daniel Craig, who couldn’t wait to get out of the shackles of agent 007, could be framed in this way. He did it, and he also received a massive fee from Netflix , along with Rian Johnson. For two feature films from the world Na nože, their production company received 450 million for wood.
Glass Onion: A Knives Out Mystery, a film named after the bar where most of the main characters used to hang out in their youth, cost only forty million and its “sequel”, or the next case of Benoit Blanc will probably not be much more expensive, so it is easy to calculate that not tens, but rather hundreds of millions of dollars went into the pockets of the two mentioned gentlemen. Her openness in front of and behind the camera is therefore not faked by any chance, and the character of the fabulously rich owner of a private island could have been played by Johnson himself, if Edward Norton had not managed it so irresistibly.
Everyone here gracefully jumps in sophisticated scenery and solves a planned murder game with fun, so that the viewer doesn’t even worry about anyone, and when someone else “accidentally” dies and Benoit Blanc has to engage the gray cells of the brain, you actually don’t leave the smile on your face. This is more a tribute to whodunits and the whole genre than an attempt at a regular detective story. After all, the willingness to break established rules, whether they were written by the crime queen Agatha Christie or the fictional TV Father Knox, puts the audience in front of a crucial decision right from the end of the two-hour film. Adhere to the rules of Johnson’s action movie and have fun with the genre cat-cops that will reward attentive eyes and everyone who has read, or be offended by seemingly banal twists and stubbornly demand an ordinary detective story, which is suspenseful until the last scene.
I fully understand that this “either or” is a bit hypocritical, but a few days after the premiere on Netflix, the audience is indeed divided into slightly disappointed and slightly excited. I personally enjoyed the not-so-polished visuals of the deliberate architectural bad taste in the middle of virgin tropical backdrops, but above all the magic with the camera, whether it is the edited telephone collage in the introduction, the exact placement of all properties in the dialogue scenes, the effort to keep the viewer’s attention with the composition in the center and a slight play and creation referring more to a theatrical production, but with a casting that checks its performance in every gesture.
What do I have next? Nothing tangible. I had a great time the whole time and I remember the visual and dialogue crumbs even on the second viewing, when I already know all the twists and turns. And that, for me, is the mark of a successful detective story. Of course, I also liked the more conservative Death on the Nile, but I think that in addition to dusting off the classics and composing them in increasingly opulent settings, we also need these small homages, cheeky variations, because without them the genre will remain in a locked box in the basement and be remembered just a few witnesses.
Play the trailer-Johnson is exactly the troublemaker that detective stories need. He didn’t shoot exactly the same thing the second time, although that’s exactly what Netflix probably secretly paid for. He didn’t budge significantly enough to make fans of the first case wonder what Benoit Blanc had turned into and where his mannerisms had gone. The third part will be critical in this regard, so in two years we will find out if we had a great opener to an otherwise slightly above-average detective series, or if Johnson will demonstrate that he has a considerable lead over the unbelieving Tomas after all. I hope for one thing, I believe in the other at worst, because these netflix dollars are rolling in the right direction once again, no matter how it turns out.
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