As we watch haphazardly plotted superhero movies lose their grip on the public’s imagination, it’s encouraging to see meticulously plotted mysteries become box office hits and/or streaming smashes. This whodunnit renaissance began with Rian Johnson’s ingenious “Knives Out” and Kenneth Branagh’s enjoyable adaptation of Agatha Christie’s “Murder on the Orient Express.” They’re deftly told films loaded with appealing stars (and, in one unfortunate instance, both Armie Hammer and Gal Gadot), and, most importantly, at a time when studios and streamers are adjusting for second-screen viewing, they encourage attentive watching. Take one glance at your phone, and you might miss a key moment integral to setting up an immensely satisfying payoff.

While I don’t know how long this sleuthing trend will last, I do know that fans of the genre will always be able to dive into the past and watch previous Christie adaptations, loads of Sherlock Holmes movies, and, if you love an onslaught of preposterous twists, Sidney Lumet’s “Deathtrap.” Based on Ira Levin’s 1978 Broadway hit, which ran for four years (a rarity for a non-musical stage production), the 1982 film stars Michael Caine as Sidney Bruhl, a successful playwright who’s mired in a horrendous losing streak. His latest flop drives him back to his cozy Connecticut home. There, his former student Clifford Anderson (Christopher Reeve) sends him a new play that’s sure to be a commercial sensation. Rather than ring Anderson to congratulate him, though, Sidney floats the idea to his wife Myra (Dyan Cannon) that, provided no one else is aware of the play, he could kill the young man and steal it. And with this, a most dangerous game is afoot.

Ira Levin’s play worked like gangbusters on the stage, but it needed to be tweaked a tad to work as a film. The great Jay Presson Allen (“The Prime of Miss Jean Brodie,” “Marnie,” “Cabaret”) was brought in to add bookends and clean up the ending. Having seen the play and the movie, I think Allen’s version is the stronger work. The meat of Sidney Lumet’s film version is basically the same, though there’s one brilliant addition (which I wouldn’t dream of spoiling).

If you’re a true mystery fan, the above setup is all you need. Read nothing more about this movie, and let it work its devious magic. The main trio of actors are spectacular, and, yes, you’ll once again be left lamenting that we lost Christopher Reeve far too soon. Oscar-winning production designer Tony Walton (“All That Jazz”) pulls double duty with the sets and the costumes and manages to make the space feel lived in. The movie never comes across as stagey.

“Deathtrap” made $19 million at the box office against a $10 million budget and was well-reviewed, but it’s been somewhat forgotten over the years. I’ve always wondered if the Rubik’s Cube poster art confused moviegoers who, I don’t know, might’ve thought they were going to see a film about the then uber-popular puzzle. In any event, now is a great moment to rediscover this devilishly clever film. You can currently rent it on Prime Video and Apple TV or watch it for free with ads on YouTube. I think you’ll agree it belongs on a list of the greatest murder mystery movies.