Glass Onion: A Knives Out Mystery | Official Teaser Trailer | Netflix

Among Bron’s pals, Kate Hudson stands out the most brightly as Birdie, twisting the effervescent qualities that made her turn as Penny Lane so appealing back in Almost Famous into a level of narcissism so malignant that she believes a withering putdown is actually a compliment. Odom is entirely believable as a scientist facing a brutal crisis of conscience, Hahn’s own sharp-edged relatability serves her politician character’s ambitions—and self-rationalizations—and Bautista plays his douchebag social media star with a knowing wink. Meanwhile, Johnson’s longtime collaborator and good luck charm Noah Segan pops up again as a character who is more superfluous to the plot than in Knives Out, but he remains welcome and wonderfully refreshing every time he shows up on screen.


In the best possible way, the closest cinematic analogy I can draw in energy and appeal to Glass Onion is Ocean’s Twelve, which similarly avoids retracing the steps of its predecessor, and is also so brisk and entertaining that viewers feel lucky to be invited into the VIP section with the movie stars who are partying there.

That’s also what distinguishes this film from the dozens of movies made during and about the pandemic that have tried to mine its isolation and inactivity for personal (much less historical or sociological) insight. Ultimately, it’s a movie about deciding whether or not to capitulate to the emotional, social, or economic forces that reinforce or validate our worst or weakest or most desperate instincts—and the cost when you do, and also when you don’t.


Like almost all of Rian Johnson’s films (especially the more recent ones), Glass Onion offers a kind of proletariat wish fulfillment without exerting moral righteousness like a sword striking down anyone who identifies with its entitled (and importantly, wannabe) one-percenters. After two-plus years stuck indoors with mostly our collective anxieties to keep us company, that sensation feels especially good; his film offers an escape, an astute commentary, and visceral catharsis, all at once—which is a puzzle few right now seem able to solve, but he makes look especially easy.