It's a sign of just how well Rian Johnson's film sweeps you up into its grasp that it can take the unusual step of boldly and openly setting itself in Covid times, and you don't spend the rest of the movie with trauma flashbacks. Like the first film, it ably and joyfully continues to breathe life into the star-studded whodunnit genre; like the first film it's as funny as it is intriguing; like the first film, it tells a story of rich people who think they should be powerful being bought low. As with Knives Out, there's real political bite here, but done so skilfully and in lockstep with story and character that neither those who strongly oppose or support the politics will be taken out of the moment.

The cast is superb; Daniel Craig is making a second franchise his own, Edward Norton is magnetic and Janelle Monae is outstanding (is there anything she can't do?). It looks spectacular; so beautifully shot that though this largely housebound Long Covid sufferer is beyond grateful to access this at home easily, I still thought ... this will look incredible on the big screen. The whole thing is technically masterful, so much so that it seems unfair to focus on one part or the other ... but the sound design and editing both struck me as subtly brilliant.

What a debt of thanks we owe Rian Johnson. These films really seem to have hit a friendly nerve; comforting, fun, escapist but with big ideas in plain sight if you want to go there, Glass Onion is just what you want it to be.