Rian Johnson’s Glass Onion is that rare sequel that doesn’t just match its predecessor it reinvents it. Where Knives Out was a cozy, autumnal whodunit, Glass Onion is a sun-soaked, neon-lit romp dripping with extravagance and irony. It’s a film that gleefully skewers the ultra-rich while still delivering a mystery so intricately constructed, you’ll want to rewind it the second the credits roll.

Daniel Craig’s Benoit Blanc returns, now more delightfully Southern and theatrically queer, like a cross between Foghorn Leghorn and Oscar Wilde. But the real stars here are the "disruptors" a grotesque, hilarious ensemble of billionaire buffoons played to perfection by Kate Hudson, Dave Bautista, and especially Janelle Monáe, whose dual-role performance is the film’s beating, broken heart. Edward Norton’s tech bro villain is so perfectly insufferable, you’ll want to reach through the screen and throttle him which, of course, is the point.

Visually, Glass Onion is a feast. The titular glass mansion is a character in itself a monument to wealth so absurdly transparent, it becomes opaque. Johnson’s script is a Russian nesting doll of twists, each reveal more audacious than the last. The film’s greatest trick? Making you laugh uproariously while still keeping you guessing.

If there’s a flaw, it’s that Glass Onion occasionally tips into self-indulgence. Some gags run a beat too long, and the third act’s meta-commentary on mystery tropes, while clever, risks overshadowing the emotional stakes. But these are quibbles. At its core, this is a film about the lies we tell to protect ourselves and the knives that come out when those lies unravel.