Rian Johnson himself has expressed annoyance at the film's subtitle, which is a blatant attempt by Netflix to cash in on the success of Benoit Blanc's initial outing, because it solidifies this as a sequel rather than what it is: simply another day in the life of the world's last gentlemen detective. This episodic entry in what's soon to be a trilogy is so disconnected from its predecessor in terms of its story that it could even be a prequel. It's also visually, atmospherically, thematically and even stylistically distinct. This is all to say that I, too, am not a fan of the picture's clunky, nonsensical subtitle. I am, however, a fan of the picture itself. With its heart on its sleeve, this layered yet clear murder mystery doesn't try to replicate the success of its predecessor, rather expand into other areas its genre often visits. 'Glass Onion: A Knives Out Mystery (2022)', in many ways, feels like a response to the tepid 'Death On The Nile (2022)', with a plot that puts its detective in a warm holiday destination and surrounds him with an insipid group of so-called friends whose repressed resentments inevitably bubble to the surface. Rather than simply stick to the formula of 'the same but abroad' that many follow-ups favour, the flick elects to change its underlying elements just as much as its aesthetics. In many ways, it deliberately dials things back by presenting an answer that's staring you in the face from the very beginning, yet is impossible to guess until the piece lets you in on its little secret. Though this is less satisfying than something that can actually be guessed - or, rather, worked out - prior to it being officially revealed, it's fitting for the material because it accompanies the movie's underlying theme of assumed complexity (think about the implication of its title and you'll understand what I mean). The important thing is that the piece is always entertaining, whether during its longer-than-expected set-up or its longer-than-expected payoff. Even its red herrings have implications for the narrative, not necessarily in terms of plot but certainly in terms of character. Indeed, the characters themselves are all well rounded and their dynamics are varied and believable (the acting, from yet another world-class cast, is also top-notch). The film really comes into its own after the halfway mark, even if most of what follows its midpoint turn essentially amounts to a stretched-out version of the sequence bookended by the coin toss in 'Knives Out (2019)'. It's an enjoyable, engaging and often funny affair that further proves Johnson's writing and directing prowess. It isn't as good as its predecessor, which is now pretty much the definitive whodunnit, but it doesn't need to be. After all, it's its own thing. It's one of the best efforts of the year, even if it is a bit too long overall.