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Glass Onion | Review


Rian Johnson is a disrupter. His directorial debut – 2012’s Looper – broke the back of paradoxical time travel sci-fi. His take on Star Wars five years later – The Last Jedi – threatened to break the Internet. It is, then, with a deliciously wicked sense for the ironic that Johnson’s latest film – Glass Onion – gleefully lambasts the whole notion of disruption as hollow arrogance. That his obnoxiously self-proclaimed “disrupter” protagonists are each wholly at the lap and call of a cultural leach financier only adds to the fun. Netflix forked out $429m solely for the rights to make Glass Onion, a predominantly housebound folly that will little directly provable financial return. They’re disrupters too.

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