Cloth Mask: a COVID Mystery. The real mystery is why Johnson didn’t turnover his idea for this chapter in the fledgling franchise to a different screenwriter. World famous detective Benoit Blanc is back, but this mystery suffocates under constant reminders of the varying degrees of response to COVID-19. At the core of this Knives Out installment is an intriguing mystery; however, throughout the whole movie, the audience is reminded of about two years of recent history that most people would rather forget. The best part of the movie is a cameo, near the beginning, of a truly legendary TV detective. Even if you don’t want to watch the whole movie, watch the first few minutes, because you will undoubtedly love the cameo as much as I did.

Tech billionaire Miles Bron invites his friends for a getaway on his private Greek island. When someone turns up dead, Detective Benoit Blanc is put on the case.

Before I break down my thoughts on the movie, just who is that legendary TV detective that surprises us with a heartwarming cameo? None other than Dame Angela Lansbury, aka Murder, She Wrote‘s Jessica Fletcher! Knowing she makes her final film appearance in a murder mystery is incredibly poetic, and will absolutely thrill audiences.

While there is certainly a time and place for films that depict or are an abstract representation of events and people from real life, for purposes of inspiring conversations, most fictional films should transport us, be a momentary break from the negative stressors of life. From beginning to end, Glass Onion is a manifestation of COVID Theatre–and not for purposes of parody or satire–because it’s neither funny enough to be parody nor clever or thoughtful enough to be satire. Even though Rian Johnson is reprising his role as the writer-director of this one, the loss in quality from the brilliant Knives Out to this installment is rather conspicuous. Perhaps this is yet another example of why some directors need to stick to directing, and turn their ideas over to a screenwriter. Evidence of the poor pacing and structure is demonstrably witnessed in the simple fact that nothing big happens for an hour and fifteen minutes into the movie.

Another troubling aspect of this movie is the showdown. And no, I am not about to get into spoilers. But it’s a subject matter that certainly requires critiquing. Keeping in mind that when Glass Onion was written, Johnson could not have possibly known about now-recent headline-grabbing events (in Europe presently) about a group that feels by being a (to quote the movie) a disruptor that they can get their way. And in the film, something rather disturbing happens that could very well serve as inspiration for the continued despicable actions of this group. When these events began happening a few months ago, Johnson (or Netflix) should have rewritten and shot the ending because as it stands, the ending is tasteless.

The set and production design of the movie is nothing short of impressive. While the constant reminders of COVID do nothing to transport us to another world, the setting of this movie certainly does! I absolutely love witnessing the hand of the artist in the design of the palatial house and manicured gardens of the location where the murder mystery takes place. Much like the house in the original Knives Out felt like the Game of Clue, this one delivers a similar feel, which causes the house to feel like a character in and of itself.

While the story execution and writing leave much to be desired, the casting is great! Daniel Craig’s Benoit Blanc is just as entertaining as he was in the first movie. Outside of the foghorn leghorn detective, Jannelle Monáe delivers a fantastic performance as the ex-wife of our murder mystery weekend host Miles Bron, enthusiastically played by Edward Norton. You’ll recognize many to the other cast members and there are a few cameos that will garner a laugh or two. Some of the characters aren’t given much to do, so they become filler. But for the characters that have something of substance to do, they are mostly entertaining.

Unlike the previous movie, this one feels very “Netflixy,” so it’s not one that benefits from a theatrical viewing. Watching it at home will be sufficient enough. However, an advantage to watching it during its limited theatrical run is avoiding spoilers on social media.

For more on the movie, visit Netflix.com/GlassOnion.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

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