"Glass Onion" offers some meaty and meaningful performances, particularly from Janelle Monáe, Kate Hudson, and Daniel Craig, once again doing his best Foghorn Leghorn impression as the intrepid detective Benoit Blanc. And several of his high-profile cameos are a giddy delight. But multitalented actors capable of daring, exciting work, such as Leslie Odom Jr. And Kathryn Hahn, frustratingly go to waste in underdeveloped supporting parts. Still, if you can catch "Glass Onion" in its one-week theatrical run before it streams on Netflix starting December 23, it's a film that benefits from the collective energy of an enthusiastic audience. Monáe's spectacular performance gives us something substantial to hold onto in this transactional world. The celebrity cameos are a consistent hoot, but Monáe-especially in her interactions with Craig-provides the necessary emotional heft and deeper meaning. Hudson's performance is also more complex than we might initially expect. She combines an infectious ditziness reminiscent of her glorious mother, Goldie Hawn, with the kind of depth and vulnerability she displayed in her Oscar-nominated supporting work in "Almost Famous. Trying to outsmart this deliriously complicated plot is part of the fun, too, but it also becomes an unwieldy process in time. Still, "Glass Onion" remains dazzling to watch, from the shimmering images from Johnson's usual cinematographer Steve Yedlin to the truly inspired costume design by Jenny Eagan. One particular outfit Norton wears in a crucial flashback scene provides one of the movie's biggest laughs. Ultimately, though, the giant glass onion that rests atop Miles' mansion becomes an all-too-apt metaphor for the movie as a whole: Sparkling, but empty. But as the title (taken from the Beatles song) suggests, there are layers upon layers to unpeel, yet the truth at the center is also crystal clear. As an indictment of the way extreme wealth corrupts, this whole exercise is pretty obvious, and it fits securely within a series of recent satires ("Triangle of Sadness," "The Menu") that aim at some easy targets, albeit with copious wit and style.