Glass Onion: A Knives Out Mystery was an appropriate festive release, probably overstuffed but ultimately leaving you content.

The follow-up to 2019 sleeper hit, Knives Out, sees writer/director Rian Johnson return to the whodunit genre, this time boasting the budget of a Netflix original.

Where the first film chronicled the complexities of generational wealth, Glass Onion brings you along for a trip to Greece as a member of the entourage for a nouveau riche tech billionaire.

Johnson clearly enjoys lambasting the barnacles that have latched onto the ultra-rich, with the group made up of politicians, influencers and anyone else who would sell their soul for an extra dollar.

These are the taste-makers without taste, bastardising traditional ideas on art and culture.

Whether this is self-parodic on a Netflix stream, who knows?

Returning to the screen is the only holdover character from Knives Out; over-the-top southern gentleman detective Benoit Blanc (played with glee by Daniel Craig).

He finds himself among the entourage as they travel to a privately owned Aegean island to play an extravagant murder mystery game.

At the centre of the game and the limelight is billionaire Miles Bron (Edward Norton), once just another member of the friend group when they were all in dire straits.

But as his star grew, so too did that of all the others in unique and interesting ways that play out as the movie unfolds.

This is a whodunit after all, so it should not come as too much of a surprise that things eventually go awry. Everyone is a suspect and Blanc has to race to peel back the layers of the titular onion with a new puzzle at every turn.

Most of the reveals are clever, aside from one crucial twist that might frustrate the audience given the lack of clues.

You will also see a litany of cameos – everyone from Serena Williams to Jeremy Renner’s small batch hot sauce.

It is a film that uses its own excess to poke fun at that on screen and whether that works will be viewer dependent.

Glass Onion is mostly fun if you don’t overthink it, but is not quite the incisive look at modern culture that it thinks it is.

But then, maybe, that’s the entire point.

Rated PG-13 for suggestive scenes and mild language.

3.5/5.