‘Glass Onion’ breaks glass ceilings

Following the success of the 2019 cult classic “Knives Out,” the decision to make a sequel to the original film was certainly a bold one, though it fulfilled nearly every expectation. Rian Johnson’s “Glass Onion: A Knives Out Mystery” puffs out its chest as the second installation in the “Knives Out” universe, confirming there will be a series of colorful whodunits like it. And thank goodness, because the solving of the mysteries guarantees to keep viewers guessing — and get their hearts racing in the meantime.

The film is a stand-alone spectacular that can be enjoyed on its own without watching the original “Knives Out,” though the original film sets the precedent for the mind of Detective Benoit Blanc, who appears to be the only recurring character across the films. Blanc, played by Daniel Craig, is a vibrant alternative from his most notorious role of James Bond. Formerly established as a stone-cold agent 007, Craig rebrands himself in the role of Blanc: a genius, loveable detective with a Southern accent you just can’t get out of your head. The character of detective Blanc is much more playful in this film than the last as he embarks on his latest mystery — this is made clear when he makes his first appearance playing a round of “Among Us.”

“Glass Onion” takes place during May 2020 and playfully utilizes tropes we’ve witnessed throughout the pandemic: the problematic celebrity (Kate Hudson), the headstrong billionaire (Ed Norton), the Twitch streamer (Dave Bautista), the girlboss politician (Kathryn Hahn) and the hardworking scientist (Leslie Odom Jr.). The “Knives Out” series is known for its unexpected-yet-electric casting that makes for quite the extravaganza: Hahn and Hudson perform side-by-side for the first time in 19 years since “How to Lose A Guy in 10 Days,” Odom Jr. and Bautista spread their wings and expand from their respective “Hamilton” and Marvel roots, and Madelyn Cline takes the throne as the decade’s most dazzling ingenue as she steps into the role of an arm-candy influencer.

This eclectic ensemble makes for an exciting treat for the viewer as they gather on the island of a billionaire, though Janelle Monáe’s alluring performance as the enigmatic Andi Brand is truly a spectacle to be observed. Having made a name for herself as a Grammy-nominated artist, Monáe has broadened their horizons in the acting industry following her success in “Hidden Figures.” Monáe and Craig make for a powerful duo throughout this mystery, creating a chemistry

Phil Tippet’s ‘Mad God’: A Macabre Masterpiece

Out of the many genres that make up today’s movie industry, horror again and again tops the popularity charts.

Horror, although in existence before the action film and changing shape every decade, continues to surprise and entertain. These past few years alone have brought some incredible titles like “Hellbender,” “The Innocents” and “Prey” that continue to show the versatility and power that the horror genre continues to have. However, out of the massive catalogue of horror films I’ve watched, Phil Tippett’s 2021 film “Mad God” is one of the most memorable, macabre pieces I have ever seen.

Phil Tippett, director of the film, is considered by most in the movie industry to be the greatest stop-motion animator of all time. Tippett’s work can be seen in a multitude of cult classic films like “Robocop,” “Jurassic Park,” “Star Wars” and “Starship Troopers,” among many others. “Mad God” has been 30 years in the making, and the dedication to the grotesque and disturbing permeates throughout the movie.

To put it bluntly; this movie is horrific in every way possible. It’s gross, absurd, super violent, torturous, vulgar and just about anything else you can mention. With that being said, this movie is incredible and an unfathomable technical masterpiece. “Mad God” follows what can only be described as an arcane storyline; the main message and ideas are cryptic and leave the viewer to create their own conclusions. The movie follows a gas-mask wearing protagonist and their journey through an incredible world of lost souls, old-world ruins and disgustingly detailed abominations in order to accomplish some unknown final goal. that swings doors open for future Academy Awards. With a slew of red herrings, Easter eggs and evidence, Rian Johnson’s continued brilliance resulted in 82.1 million hours of “Glass Onion” watched in its opening weekend on Netflix, according to Variety. The mystery’s genius is also very timely as it delivers a subtle social commentary, engaging with America using the group of characters, the “disruptors,” to convey the message that not all grand actions equate to genius. One of my favorite quotes from the film is when Blanc states, “It’s a dangerous thing to mistake speaking without thought for speaking the truth, don’t you think?”

Tippett’s skill and dedication to craft really shines in this film, as every set, creature and element is painstakingly hand-crafted and animated using traditional stop-motion. The movie has a heavy emphasis on the primordial, alluding to some higher power or greater significance in the world but never telling the audience what.

A lot of the scenery is based on visuals from World War I: abandoned bunkers, barbed-wire trenches, antique military equipment, etc. Each scene gives a different type of post-apocalyptic aesthetic that blends well in the overall environment but gives the viewer interesting visuals to look at every time.

And that’s where this movie really shines: even though the movie pushes the viewer and can easily leave them sick, the craft is so gorgeous it’s difficult to turn off. “Suffering of the highest magnitude on repeat. Like a car crash. It’s horrible, but you can’t look away” writes one reviewer.

Overall, this movie is far from what would be considered a cult-classic film like one of Phil Tippett’s numerous other works. It’s too special for that treatment. “Mad God” is in an unholy class of its own in the horror genre, showing unprecedented amounts of sophistication yet displaying insurmountable amounts of depravity. I can garner no real message from this movie, other than I should be very, very afraid of what Tippett’s mind looks like.

This movie is an incredibly complex masterpiece as much as it is a disgusting torture-fueled nightmare. I highly recommend the film — if you have the stomach for it.

Arguably the greatest element of the “Knives Out” series is that the end of the first watch is only the beginning — or rather, the first layer. Once the solution to the mystery is revealed, it does not spoil, but rather repurposes the excitement of the film. This tactic has certainly reprised the former charm of the murder mystery genre, allowing the audience to play detective as they catch small hints and explore minor details. “Glass Onion” is a mystery complete with drama, foreshadowing, a smooth build-up and an ending that is clever, shocking, and sharp enough to cut glass.

“Glass Onion” is now streaming on Netflix.

Review: ‘The Menu’

Ian Thompson Staff Contributor

When I first saw the trailer for “The Menu,” it instantly went on my must-watch list.

A cross between black comedy and suspense horror about the restaurant industry? Sign me up! Unfortunately, I didn’t get the chance to see it in theaters, but when it began streaming on HBO Max, I cleared my schedule to sit down and watch it. And boy, am I glad I did.

When I was asked as a child, “What do you want to be when you grow up?” I of course bounced between the cliches of astronaut, firefighter and the like. But eventually I settled down on dreaming of becoming a chef. I was a fan of Geoffrey Zakarian, Gordon Ramsay, Rachel Ray and all the others. Alton Brown still has a special place in my heart as the “Bill Nye” of cooking.

However, my excitement for the culinary arts quickly soured and turned to bitterness. I attended a vocational school during high school and got a job as a short-order cook at a local business. Through these experiences, I began to realize the horrors that exist in and around the food service industry — ranging from exploitation to cults of personality and sexual harassment.

I think it was for that reason that “The Menu” resonates with me so well. The movie, which stars Ralph Fiennes as celebrity chef Julian Slowik, is centered around an evening at Slowik’s exclusive island restaurant. As the night goes on, we learn more and more about Slowik, the restaurant and each of his less than admirable diners.

“The Menu” offers an excellent critique and satire of many of the issues that plague the restaurant industry.

Slowik’s staff is invested in the cult of personality surrounding the chef to a disturbing degree. They live on the island, work grueling 18-hour days and are utterly devoted to him. Every perfectly synchronized “Yes Chef” reinforces their conformity to what they think will earn Slowik’s respect.

While just about every satirization in this movie is caricatured for effect, it all has a basis in truth. The amount of abuse and exploitation that people in this industry are subjected to, not to mention the physical labor and low pay, takes a toll on mental and physical well-being.

Gordon Ramsay’s screaming on “Hell’s Kitchen” makes for good entertainment, but the countless chefs who seek to emulate him have created an industry rampant with abuse, drug addiction and suicidal ideation.

“The Menu” understands this alarming reality and succeeds in shedding some much needed light on it.

Our point-of-view character Margot (Anya Taylor-Joy) is an outsider compared to her fellow diners, including foodies, critics and entitled consumers. Her own experience in sex work offers an interesting comparison with the exploitative environments often found in commercial kitchens.

A central theme of the movie is artistic alienation. Our modern world is exceptionally capable of extracting the enjoyment out of any form of art, whether it be filmmaking, critique or cooking. It’s not enough to create for creation’s sake, or for enjoyment — everything must be milked for content and engagement.

Critics and foodies don’t want burgers and fries — even if that’s what you as a chef want to create — they want flashy, artsy and avant-garde creations they can post on Instagram and gush about on blogs. And to survive in that market, chefs degrade their own art.

“The Menu” is a cynical but realistic portrayal into the world of food. It recognizes that there’s blame to be placed on the side of the consumer and the producer and capitalism itself.

It’s a movie that reminds me of Anthony Bourdain. I’m still a fan of those chefs I mentioned before, but the late Bourdain has become my favorite. During his time with us, he was very open about his thoughts and the good and bad of the industry.

His book, “Kitchen Confidential: Adventures in the Culinary Underbelly” sits in a place of honor on my bookshelf. Bourdain wrote, “Good food is very often, even most often, simple food.” I can’t agree more — sometimes you just need a burger.