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nme.com
‘Knives Out 2’ reviews: “It’s just so much fun”
Glass Onion: A Knives Out Mystery are now out – scroll down to read.The film picks off where Rian Johnson’s whodunit Knives Out left off, placing Daniel Craig’s detective Benoit Blanc in a new setting to solve another murder.New York Magazine‘s Alison Willmore praised the sequel as building on the original appeal of Knives Out, writing: “Glass Onion is bigger and more precisely designed than Knives Out, but what makes it a more satisfying movie is that it sits with its characters more rather than immediately showing off their decay.”Take a look at the trailer for the new film here:Glass Onion was praised for being “just so much fun” by Brian Tallerico of RogerEbert.com, praising writer-director Johnson’s dialogue.Wendy Ide of Screen International echoed the sentiment, calling the Knives Out sequel “an immensely enjoyable movie which is at least as funny as the first outing, if not more.”Johnson’s direction was praised by Justin Chang of the Los Angeles Times who said the film has “a virtuosity that reveals itself cinematically”.The filmmaker recently said he would “keep making” more sequels in the Knives Out franchise as long as Craig is on board to star in them.Following the film’s world premiere at TIFF last week, the film will make its European bow in October at the London Film Festival.
variety.com
‘Glass Onion: A Knives Out Mystery’ Review: As Sharp as the First One, But in a Go-Big-or-Go-Home Way, and Daniel Craig Once Again Rules
Owen Gleiberman Chief Film Critic It’s in the nature of cinema that when a hugely popular and beloved movie is grand enough, the sequel to it almost has to try to top it in a go-big-or-go-home way. For a long time, each new James Bond adventure was more lavishly scaled, baroque, and stunt-tastic than the last. “The Godfather Part II” was darker and longer than “The Godfather,” “The Empire Strikes Back” enlarged the awesomeness of “Star Wars,” and “Terminator 2: Judgement Day” made the first “Terminator” look like a minimalist trinket. So how does that apply to “Glass Onion: A Knives Out Mystery”? Three years ago, Rian Johnson’s “Knives Out” was a seamlessly debonair retro whodunit, set in the mansion of a murdered mystery novelist, that not only evoked the edge-of-your-brain storytelling panache of Agatha Christie but expanded the Christie genre into something delectable in its meta cleverness. At a time when comic-book films, action films, and other forms of kinetic fantasy appeared to be in the final stages of killing off everything else, “Knives Out” was a cathartic reminder that a movie mode we associate with vintage Hollywood — dialogue of airy density and wit, characters who pop with all-too-human flaws and foibles, a plot that zigs and zags until you’ll follow it anywhere — could still make a righteous stand at the megaplex. Holding it all together was Daniel Craig as Benoit Blanc, the film’s Southern-gentleman re-imagining of a Hercule Poirot/Sherlock Holmes sleuth, whose wryly deceptive genius made him, for some of us, more super than any superhero.
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