World-famous detective Benoit Blanc heads to Greece to peel back the layers of a mystery surrounding a tech billionaire and his eclectic crew of friends.
Despite all of its clever witticisms, this is quite an ungainly film; top-heavy with too many unveiled references to concrete personalities both living and dead, as well as to its own lore. And Daniel Craig's frankly unamusing corncobbing is hardly excused by the script pretending that it's actually an in-universe ruse.
In both [Knives Out] films, the revelation of guilt and motive is arguably less important than the ambient send-up of 1-percenter largesse—the same debonair class humor that [Agathie] Christie managed on the page without making such a big deal of it. […] Purposeful play with perspective […] is essential for the mystery genre, and the good-natured obfuscation of Knives Out ultimately played fair with the audience. It teased and withheld without cheating, and in the character of super-sleuth Benoit Blanc […] it achieved the rare MCU-era goal of leaving its viewers wanting more. […] Too often, though, Glass Onion feeds off its own anodyne self-righteousness. If the true legacy of The Last Jedi was how it forced a certain demographic of Star Wars fans to take their masks off—to decry Johnson’s progressive subtext as somehow marring their childhood experiences—the filmmaker now seems determined to get revenge, using Benoit Blanc as a mouthpiece for banal anti-Trump sentiments.
— Adam Nayman (The RInger)
