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The highly anticipated Knives Out sequel is lighter & breezier than the original but still a solid whodunnit, excellently presented on Netflix
by Roger Kanno
December 30, 2022
Master detective Benoit Blanc is back. But this time, he is on Netflix in Rian Johnson’s followup to 2019’s hugely successful and entertaining murder-mystery Knives Out. Netflix, who outbid the other major streaming services for the rights to two sequels, released the first of them, Glass Onion: A Knives Out Mystery, for a limited, week-long run in theaters on November 23 that grossed a reported $13.28 million. With a remarkably lucrative but very short release, some have questioned the financial strategy of such an abbreviated theatrical run and the missed opportunity for a beleaguered movie-theater industry that relies on big releases to fill seats that would otherwise remain empty.
Nevertheless, Netflix is a streaming service, and the December 23 streaming release of Glass Onion was one of the most anticipated releases of the year on any service, and it certainly does not disappoint. Knives Out is set to become a major movie franchise, but other than protagonist, Benoit Blanc (Daniel Craig), none of the characters from the original film appear in this sequel with its completely self-contained story.
Like its predecessor, Glass Onion does feature a packed lineup of stars including Edward Norton as tech-billionaire Miles Bron and the leader of a group of friends played by the likes of Dave Bautista, Janelle Monáe, Kate Hudson, Leslie Odom Jr., and Kathryn Hahn. Johnson’s intelligent script gives plenty of material for the actors to sink their teeth into and they relish in their colorful roles. His direction is also adept, providing once again a snappy and compelling whodunnit in grand style. The many plot twists and turns unravel the complex mystery with flashbacks and rapid-fire edits that will keep most viewers guessing until the very end. There are also many delightful cameos to look out for from Yo-Yo Ma, Steven Sondheim, Serena Williams, and Angela Lansbury among others, including Noah Segan, who appeared in the first film but appears quite comically as a different character this time around.
Glass Onion is set on a fictitious Greek Island with many of the scenes bathed in plenty of natural sunlight. Colors are not overly saturated, and at times the bright lighting might seem to slightly wash out tones, but the Dolby Vision color grade is actually organic and realistic. The picture is also quite detailed but has a touch of pleasing softness that is carried over from the film-like quality of the original movie even though both were shot digitally by cinematographer, Steve Yedlin. The slightly ruddy complexion and many lines and pores on Blanc’s face look perfectly natural as does his blue-and-white-striped two-piece linen swimsuit with its dimpled texture and some very slight wrinkling. The blue-dyed fabric appears lighter in color when in sunlight but takes on a realistically darker hue when in the shade, as does the slightly off-white stripes of the fabric. The carefully controlled lighting of interior shots provides even more detail and exhibits fantastically deep, gorgeous blacks and richer colors than exterior shots. Inside the observatory room of Bron’s Glass Onion mansion, the nighttime sky in the background is inky black while Bron’s and Blanc’s faces are bathed in convincing shadows from the interior lighting as they move about the room. The lighting highlights really pop and the composition of the scene with its contrasting shadow and light is beautiful to behold.
As with the cinematography, the sound design is not overtly attention-grabbing but is the perfect accompaniment to the onscreen action. The Dolby Atmos mix provides a near constant sense of envelopment from the surround and height channels that effectively enhances the film’s atmosphere. When called upon, the spatial capabilities of the object-oriented mix are well utilized as when Blanc sets off the garden’s smoke alarm. As he walks along the paths, the sounds of chirping birds, gurgling water, and rustling leaves are diffuse and enveloping, but as the smoke from his cigar sets off the warning system, three different alarms and a vocal warning emanate distinctly from various locations and heights within the soundstage.
Nathan Johnson’s score also sounds excellent in Atmos and is used effectively to heighten the suspense as well as provide some more playful passages during lighter moments. The soundtrack also includes well-mixed pop songs. The Bee Gees’ “To Love Somebody” is placed primarily at the front of the room but the other channels are used effectively to expand the soundfield with a sense of height and depth and to place voices and Foley from the scene coherently within the complex mix.
Glass Onion: A Knives Out Mystery is lighter and breezier than the original film but with a similarly clever and intricate plot. It also features first-rate sound and picture quality, making it one of the premier streaming releases of the year.
Roger Kanno began his life-long interest in home cinema almost three decades ago with a collection of LaserDiscs and a Dolby Surround Pro Logic system. Since then, he has seen a lot of movies in his home theater but has an equal fascination with high-end stereo music systems. Roger writes for both Sound & Vision and the SoundStage! Network.
PICTURE | The Dolby Vision color grade is organic and realistic with a pleasing film-like quality, even though the movie was shot digitally. The carefully controlled lighting of interior shots provides plenty of detail and exhibits fantastically deep, gorgeous blacks.
SOUND | The sound design is the perfect accompaniment to the onscreen action, with the Atmos mix providing a nearly constant sense of envelopment from the surround and height channels that effectively enhances the film’s atmosphere
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