The setting is more or less familiar: a wealthy host invites society friends to his luxurious mansion for the weekend and announces his murder. In this explosive company, unexpectedly (?), there is a detective who is called upon to uncover “children” mysticism, which, of course, is full of plot twists.

We saw it in “Key to the puzzle” we played it “Cluedo” but before that we enjoyed it in a spartan way “Murder by Death” and of course we read it in Agatha Christie. in “Glass Bow” Of course Truman Capote is not a tycoon, but Edward Norton and his guests Kate Hudson, Dave Bautista, Kathryn Hahn, Leslie Odom Jr. and Janelle Monae (with “was present” Jessica Henwick and Madeleine Klein), and the detective is none other than Daniel Craig like Benoit Blanc, three years after the first “Get the knives.” And the luxurious crime scene, which could become an extension of MoMA, also dominates among the works of modern art. Mona Lisa– located in Spetses (what do you mean, you don’t understand how a film made in Greece is not distributed in domestic cinemas, but goes straight to Netflix;).

It is clear that here we are dealing not with a continuation, but with one spin off his film Ryan Johnson, How does this explanation portend “Mystery of Knives” In the title. A new story in the universe of Benoit Blanc who wants to be grander, more impressive, a little more exotic, with so many stars gathered that a Wes Anderson film would be envious.

The ‘party’ that arrives at a seaside resort — in an arrival that featured so many masks and pandemic references it made you wonder if you’re watching Maestro — is made up of various celebrities who haven’t seen the hero in years. Miles Bronn (Edward Norton) not only as a friend, but also as a financier in his ambitions.

The deliberate lightness of the characters (especially Kate Hudson) creates in many scenes an atmosphere in which they seem more with guests on the Oprah Winfrey or Graham Norton show than with those involved in the murder. I’m guessing it was the humor of the posts here, which gloats under a misunderstood “Americanism” and doesn’t really make for a laugh or a well-aimed social commentary. Even witty comical finds, such as the opening and closing of the protective glass in the Da Vinci painting (original), making Gioconda a “living” witness to what is happening, sometimes cause a feeling of insult.

In this climate the heroine played Janelle Monae (we will not disclose more about her role, despite the fact that she is a longtime partner of the presenter) it is she who casts a shadow of mystery with her every look in these almost two and a half hours and not by chance, the one where everything begins and ends.

Thus the myth that unfolds provides an opportunity (and a unique one) to wink at the first Knives Out, with a successful rewind events from a new and expanded perspective which is the best part of the Glass Bow. Otherwise, the final domino of twists feels boring and easy, not to mention the kind of movie we’ve seen before and ingrained, especially when you’re left with more of a puzzle invitation box at the start of the movie than its main script.

Of course, it’s not that whoever sees the Glass Bow won’t find it. pleasant. Against. It’s just that Rian Johnson looks more interested here. of course all the stellar charm of the cast and to impressive scenery, inside and out (even if Spetses is not particularly exploited in the cinema) than in fine-tuning the top script. Fortunately, however, hard and sharp editing he doesn’t let the film falter, despite its mean length.

But, in the words of Edward Norton’s hero, the “Glassbow” longs to see his name next to Jocontes (sic) the word “whodunnit”. In the end, however, a pleasing reference to “Knives Out” is made. Benoit Blanc, go ahead.

Rian Johnson’s Glass Bow: Mystery of Knives is available on Netflix.