Glass Onion rocked in theaters and I think most people I know reacted poorly to it because they watched it at home on their phones for most of it.
I drove an hour and a half to the only theater near me that was showing it, and I fucking loved it. I’ll gladly do it again for the third.
Glass Onion was one of the most fun theatrical experiences i've ever had (somewhat matched recently by The Substance), and i was lucky to catch a showing in Paramus, NJ a couple years ago. it's also the only screener disc i own, because i love this movie too much to let it sit behind Netflix's shitty paywall and not on my bookshelf.
Idk, that’s a fair take, but I saw Glass Onion in theaters after loving Knives Out and was fairly disappointed. Still hopeful that I like this third one more.
guess now might be as good of a time as any to show off the artwork i made about a year ago for my screener disc of Glass Onion, made primarily from their set of online FYC assets. i'll say off the bat that this isn't perfect in the slightest. i know little to nothing about graphic design, and there are definitely things i would change about this if i made it again (especially the resolution of the credits block, which i had to essentially retype from scratch based on how it appears on the poster and scale to match the back cover), but i tried to model it as closely to the Blu-ray cover for Lionsgate's release of Knives Out, and i think i got pretty damn close. took it to Staples to print on high quality flyer paper (don't remember the specific kind, but it was similar enough to the kind they print DVD/Blu-ray covers on), printed an FYC image on the reverse side, and put it in a clear Blu-ray case (fitting for the film's subject matter). again, far from perfect, but i kinda like how it turned out.
I have that screener and man, that artwork absolutely blows what Netflix threw together out of the water.
it was also partially inspired by the steelbook Lionsgate did for the first one. the cover and cast photos on the front come from their FYC/behind the scenes booklet (and pretty much every image and text blurb comes from the quotes on the screener sleeve - i got the solid yellow one from eBay and not the one with all the photos - or Netflix's FYC website). it took me forever to get everything aligned properly. my favorite touch was adding both the Mondo and Cut Narrative Records logos for Nathan Johnson's score. i also didn't know what to do with the barcode area, so i figured superimposing the golden ratio spiral would be fitting. i worked on it for a couple weeks in my spare time and i really like the final result. if by some chance i get my hands on one for Wake Up, Dead Man, i'm excited to try it again.