This past month, directors of four Netflix films were invited to curate some personal favorites; thanks to Rian Johnson’s mystery-minded picks, I ended up seeing a very nice 35mm print of Evil Under the Sun , a fairly ideal Agatha Christie adaptation that, unsurprisingly, is indeed a key reference point for Glass Onion , which borrows its first-act mechanics of bringing suspects to an island and running through all their motives, and its third act in ways that would be unfair to reveal; the second act successfully goes its own structural way.
Like Knives Out , this sequel pays homage to classic whodunnits (the many versions of Agatha Christie’s And Then There Were None come to mind, as does Evil Under the Sun ), but much fun comes thanks to its many surprises—I will not be the one to spoil them.
Evoking the feel of seaside murder mysteries like Evil Under The Sun (1982) and The Last of Sheila (1973) (this one particularly, given its similar absurdity), Glass Onion ramps up the broad caricatures, silly one-liners, and genuinely stupid (“stupid” is a term of endearment in my household) sight gags, all of which are wondrously funny, but, more than that, they rarely ever don’t have a callback to something important later.