The huge success of Rian Johnson Take out the knivesa movie that almost everyone loved when it came out in 2019 (I remember watching it on Thanksgiving weekend with a multigenerational group of relatives, the last time we were laughing together in a theater because we’ve been going for three years now), it was all about the way with which she reinvigorated an otherwise utterly moribund genre: ideaMurder mystery style. Gather a group of movie stars playing disparate socials in a closed and secluded setting (in this case, a gothic Massachusetts mansion), dispose of one of their numbers under mysterious circumstances, and call in a world-famous detective (Daniel Craig Rowling’s super-detective Benoit Blanc) to discover the killer. : What could be a simpler hypothesis on which a far from simple story involving class privilege, war between generations, imaginary three-way plot twists, and vests could be hung on the spot?
This Thanksgiving, Johnson is back with glass onion, which is not a sequel in the usual sense, given that the setting and all but one of the characters have been completely changed. Instead, it’s a new Benoit Blanc mystery, a conceptual throwback to the days of The Pink Panther or Sherlock Holmes, when a colorful crime-solver was the only constant between one standalone universe and another. (More recently, Kenneth Branagh revived Hercule Poirot for Murder on the Orient Express And the Death on the Nilebut despite the former’s strong performance at the box office, neither had the flair to match either Take out the knives Or that amazing detective’s mustache.) The issue that Blanc cracks this time around is not a wealthy family’s battle over the old estate but a group of old friends reuniting for the weekend on a lavish private island. Their host, tech billionaire Miles Bronn (Edward Norton), invites this diverse group of potential influencers to what he considers a murder-themed party, where they will be made a symbolic offer and their job will be to find out who among them did it and why.
It was introduced in a split-screen phone conversation earlier than it suspected it would be. Birdie (Kate Hudson) is a supermodel who fancies herself a spunky online truth teller, to the horror of her embarrassed publicist (Jessica Henwick). Lionel (Leslie Odom Jr.) is a brilliant scientist who is currently working with Miles on a top secret project. Duke (Dave Bautista), who arrives sporting an arm-shaped girlfriend named Whiskey (Madelyn Cline), is a YouTube rights star trying to transition into a more legitimate media space. Claire (Kathryn Hahn) is the governor of Connecticut, a silver-tongued neoliberal with moral struggles behind the scenes. Andi (Janelle Monáe) is Miles’ ex-husband, who helped him build the program that made him rich only to be conned out of sharing the profits. For reasons no one can quite know, Benoit Blanc, though not a member of this long-running group of “cripples”, is invited on a luxury jaunt to the Greek island resort that Miles has named after the band’s Beatles song.
Blanc soon solves the mystery Bronn planned to gather, exacerbating his host’s condition. but there are harder mysteries to follow, ones which I will only hint at by pointing out, as with the first Take out the knivesShifts in our understanding of a situation often result from changes in perspective, as the same events are revisited from different characters’ perspectives. A snippet from Birdie’s social media phone features Yo-Yo Ma in one of the many star cameos. (Angela Lansbury, Stephen Sondheim, Kareem Abdul-Jabbar, and Natasha Lyonne—all of whom have starred in or written their own murder mysteries—share an unforgettable Zoom screen early on, while later there are brief, more random appearances from a certain world-class athlete.) While eating a slice of pizza, the famous cellist explains the musical concept of a fugue. Like many in glass onion, This is a guide in plain sight: The upcoming film will follow Fogel’s structure, with the same main events repeated in different contexts.
The complex puzzle square layout doesn’t quite click together as enjoyable as the first Take out the knivesThe identities of the suspects are not all well defined. Some, notably the Odom Jr. characters. But Johnson’s twisty script and scenery-packed setting do something few contemporary films do: tune in to audiences’ emotional response in the moment. Like Hitchcock, another genre filmmaker who endeared audiences, Johnson knows how to pace a film so that it alternates rhythmically between laughter and suspense, tension and breath, while playing on the viewer’s expectations of what it is to be an addict. Vision glass onion In a packed theatre, we were all gasping and gasping in unison, it was a deeply satisfying social experience, which made it all the more sad that the film is only holding the award for one week in cinemas before it airs on Netflix starting December 23rd. .
After nearly a decade of contract staring as James Bond, it looks like Daniel Craig has a positive con time.
If there was an ensemble acting award at the Academy Awards, glass onion It will act as a filter lock. The dialogue is fast-paced and verbally intense, and everyone in the cast beats it back and forth with as much wit as apparent fun. Norton is wild in its cult send-up of the software engineer as the visionary who gave us an incompetent world run by the likes of Elon Musk — although Miles aspires to become a barefoot Steve Jobs. Paul McCartney plays the guitar. Hudson plays the unabashedly awkward Birdy as a ditzy character but calculated straight out of a screwball comedy. And Monáe, a musician who has worked before mainly in dramatic roles, here gets the chance to play comedy in which the initially arrogant Andi reveals unexpected weaknesses. As for Daniel Craig, after nearly a decade of contract staring as James Bond, he seems to have had a positive shot at some point as the suave but headstrong Blanc, savoring every line as if a sip of bourbon was at the top of the drawer, autumnal. Take out the knives The tweed has been replaced by pastel-hued resort wear (the cool and goofy costumes are again by Jenny Egan).
John Lennon wrote the song “Glass Onion” (which plays under the closing credits of this movie) as a joke. The lyrics are a nonsensical string of red herrings designed to confuse the kind of obsessive Beatles fans who spun wild explanatory theories out of every obscure lyric. The joke of the song is summed up in the title image – a glass onion is something that is at once intricately layered, transparent, and intricate yet simple, elaborately created for no other purpose than to create something beautiful. Paraphrasing the phrase as the name of an empty-headed billionaire’s high-tech pleasure dome was a bit of a mockery of Rian Johnson, but it works as a metaphor for his movie. very.
#knives #complete #blast