Puñales por la espalda
Directed by Rian JohnsonCuando el renombrado novelista de misterio Harlan Thrombey es encontrado muerto en su mansión justo después de su 85 cumpleaños, el inquisitivo y cortés detective Benoit Blanc es misteriosamente reclutado para investigar. Se moverá entre una red de pistas falsas y mentiras interesadas para tratar de descubrir la verdad tras la prematura muerte del escritor.
Puñales por la espalda Ratings & Reviews
- Jacob Thompson6 de abril de 2025A movie that rewards the viewer for paying attention, but restrains itself due to a PG-13 rating
- makdelart26 de enero de 2026An excellent crime plot in this old-school gem, perfectly acted and photographed, with Craig speaking with a Texan accent and de Armas suffering from a strange affliction, although the clear political subtext didn't quite suit me. Still, it's great fun.
- sansai_15 de enero de 2026A brilliant movie with an incredible cast all around, a lot of wit, and it's got its heart in the right place. Crisp and elaborate direction, and also a great love letter to the Whodunit genre. Bravo !
- joachim descamps14 de enero de 2026Its okay but would not rewatch Love Ana de Armas 😍
- shark jackson9 de enero de 2026it's crazy that the knives were out the whole movie
- Rowan Krzysiak23 de enero de 2025It references 'Murder She Wrote' and that's essentially what it is. While an episode of that is 48 minutes though, this is stretched over 2 hours making it far too flabby to recommend. Not clever, funny, witty or interesting enough. Look for something better.
- Ninepintcoggie28 de julio de 2025thank god they reinvented the whodunit for the modern age. flawless. no notes. could and will watch this hundreds more times in my life
- James Saenz25 de noviembre de 2025“i am not eating one iota of shit!!!” absolute banger with killer autumnal vibes and my dream house. the best thing america has ever produced is our favorite gay detective, benoit blanc.
- S&M2love14 de junio de 2025Awesome
- Jakeys3 de enero de 2026I really enjoyed this. I don't think I've seen too many murder mystery films, but this was a lot of fun. Stacked cast too.
- positive.83 de enero de 2026Classic Agatha Christie style mansion murder mystery. Spolier - someone did it!
- Dan Hernandez2 de enero de 2026One of the best murder mysteries I’ve seen in a long time. So many twists, turns & red herrings. Donuts within donuts within donuts! Just beautifully shot & every scene just felt rich in color. I’d rewatch for sure!
- Ike Eyidah2 de enero de 2026An enjoyable whodunit that is slow to begin with but speeds up as you go along. Not to hard to figure out the culprit but the how is intriguing. Good fun but not earth shattering.
- Alpesh Patel26 de diciembre de 2025Brilliantly good fun. Stick it on on a Sunday afternoon and just enjoy the romp...and the absurdity of Daniel Craig's accent.
- Shaydeknight13 de diciembre de 2025Knives Out is a grand revitalization of the whodunnit genre. Here's why. For much of the last quarter-century, the murder mystery did not so much die as emigrate. As theatrical cinema increasingly abandoned mid-budget, dialogue-driven films, the whodunnit moved to TV, where time, patience, and structural complexity were still permitted. These series inherited the genre's core concerns: motive, secrecy, moral consequence, and the slow unveiling of truth. What cinema retained were merely fragments and tropes in other genres, like prestige thrillers, procedural dramas, and noir-adjacent character studies, but rarely the clean, unapologetic architecture of the classical whodunnit. Mysteries thrive in the mid-budget range, large enough to afford ensemble casts and production design but small enough not to depend on epic spectacle. Modern Hollywood largely abandoned that zone, preferring either massive franchise tentpoles or microbudget horror films. There was almost no commercial space left for films whose appeal rests on character, plot, and dialogue rather than visual spectacle. A whodunnit also demands moral clarity, objective truth, and the satisfaction of final answers. Modern storytelling, by contrast, often treats these qualities with suspicion. Thrillers, prestige dramas, and even thrill-comedies frequently deploy ambiguity or irony to signal sophistication. Mystery became suspect: audiences were often led to feel that wanting a coherent solution was naïve or retrograde. The first annulment of this exile came not through innovation, but through recognition. Kenneth Branagh's Murder on the Orient Express (2017) succeeded commercially without fundamentally reinventing Christie, proving to Hollywood that the murder mystery remained viable in the theatrical marketplace. It revalidated the genre as monetizable, demonstrating that audiences would pay for ensemble casts, period aesthetics, and classical structure. That success created the opening, but not yet the direction, for true revival. Into that vacuum stepped Knives Out (2019). Its achievement was not merely that it revived the genre, but that it demonstrated the whodunnit could be original, entertaining, and morally intelligible without irony or apology. Rian Johnson was uniquely positioned to lead this charge. His debut, Brick (2005), had already shown a talent for translating classical mystery and noir structures into new contexts while preserving their logic. With Knives Out, Johnson applied that discipline to a more traditional framework: a death, suspects, a detective, and a house that practically demands exploration. Unlike many modern mystery-adjacent films (thrillers, satires, or prestige dramas) Knives Out is unabashedly a whodunnit. Its narrative clarity allows moral and procedural stakes to remain meaningful. The film's most subversive move is tonal: it elevates decency, empathy, and ethics as forces that matter to the story, embodied in Marta Cabrera's character. This is a subtle but decisive departure from much contemporary storytelling, which often conflates intelligence with detachment and treats virtue as irrelevant. Benoit Blanc is an atypical detective. He rarely demonstrates genius through exposition. Instead, he observes, interprets human behavior, and applies moral pressure to reveal truth. This is in keeping with modern sensibilities: a detective who succeeds through patience and perception rather than spectacle. His brilliance is understated, a deliberate counterpoint to the flourishes of Holmes, Marple, or Poirot, and it reflects a contemporary understanding of what a detective can, and should, do. Even when modern films play at mystery in other genres, the structure often survives. The Big Lebowski, for example, mirrors The Maltese Falcon structurally, but drains the characters of moral weight or seriousness, to hilarious effect. Knives Out reverses this trend. It maintains heightened, sometimes satirical characterizations, but the moral engine is serious. The plot functions as a coherent puzzle with stakes that matter, and it respects both audience intelligence and the formal conventions of the genre. Heck, even looking a the poster for the film, with all the characters decked out in unique, bright colours, they all look like they should be on the box of a special edition of the Clue board game. This movie is clearly a love letter to the classic mystery experience. Knives Out proves that the murder mystery is not obsolete. It shows that classical structure, clarity of solution, and ethical stakes can survive in modern cinema. It builds on industrial and cultural precedents: it follows the commercial validation of Murder on the Orient Express and leverages Rian Johnson's structural fluency. It demonstrates that the genre can be original, contemporary, and commercially viable without irony, cynicism, or apology. In doing so, it restores confidence in a genre that had largely gone underground. For anyone who believes the whodunnit's heyday ended with the 1940s, Knives Out offers proof that it never stopped working, it was simply waiting for the right combination of industrial conditions, creative leadership, and respect for its mechanics.
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Puñales por la espalda Trivia
Puñales por la espalda was released on 27 de noviembre de 2019.
Puñales por la espalda was directed by Rian Johnson.
Puñales por la espalda has a runtime of 2h 10min.
Puñales por la espalda was produced by Rian Johnson.
Cuando el renombrado novelista de misterio Harlan Thrombey es encontrado muerto en su mansión justo después de su 85 cumpleaños, el inquisitivo y cortés detective Benoit Blanc es misteriosamente reclutado para investigar. Se moverá entre una red de pistas falsas y mentiras interesadas para tratar de descubrir la verdad tras la prematura muerte del escritor.
The key characters in Puñales por la espalda are Benoit Blanc (Daniel Craig), Ransom Drysdale (Chris Evans), Marta Cabrera (Ana de Armas).
Puñales por la espalda is rated 12.
Puñales por la espalda is a Crimen, Drama, Suspense film.
Puñales por la espalda has an audience rating of 9.2 out of 10.
Puñales por la espalda had a budget of 40 MUS$.
Puñales por la espalda has made 312,9 MUS$ at the box office.