At this point in his career, Rian Johnson has become a well known name, perhaps most famously for firmly dividing the fandom with his Star Wars: The Last Jedi. For this critic, his Knives Out films are his crowning achievement. In the third installment of his murder mystery series, the tone shifts dramatically from the campy vacation comedy of 2022’s Glass Onion. In fact, famed private detective Benoit Blanc (Daniel Craig) doesn’t even show up until the conclusion of the first act. That alone marks a bold new direction for these Knives Out mysteries, sharply written and directed ensemble pieces that constantly reinvent themselves, oftentimes more than once within the framework of the central narrative at large. Wake Up Dead Man underlines the sheer brilliance of Johnson’s modern whodunnit by pushing Josh O’Connor’s hot priest into the center of the twisty action. As far as Knives Out romps go, this is the best one yet.
Our window into the story this go round is young former boxer, Reverend Jud Duplenticy (O’Connor), who enthusiastically narrates for the first act as he recounts “The Good Friday Murder.” In the wake of a violent outburst, Duplenticy gets sent to the small parish of Our Lady of Perpetual Fortitude. His mission: observe the particularly difficult and exceedingly toxic Monsignor Jefferson Wicks (Josh Brolin), and inject some of Jud’s own personal brand of positivity into the proceedings. Unfortunately, Jud gets no warm reception from Wicks, nor any of his congregation, including devout overseer, Martha Delacroix (Glenn Close). Eventually, a seemingly impossible murder occurs. Who best to solve a “miracle” of a crime than fervent non-believer Benoit Blanc himself?
As with the previous installments, Johnson makes a meal of his ensemble, filling even the most tertiary roles with top-tier, perfectly cast talent. Mila Kunis plays local police chief Geraldine Scott, who begrudgingly works with Benoit and Jud to Scooby-Doo the case. Jeremy Renner—the sole cast member whose previous mention in the Knives Out universe was hot sauce-related—fills the shoes of devastated drunkard Dr. Nat Sharp. Cailee Spaeny’s Simone Vivane is a wildcard, new to town and a world class cellist that just retired due to a devastating injury. Filling out the suspect list are local attorney Vera Draven (Kerry Washington) and her politically-motivated, social media obsessive adopted son, Cy (Daryl McCormack); maniacal sci-fi author Lee Ross (Andrew Scott); and groundskeeper Samson Holt (Thomas Haden Church). The character interplay, particularly when it comes to the reason each of these folks have turned to faith, compels throughout a lengthy but essential two-and-a-half hour runtime.
Some of the formula itself we have come to expect has been maintained, on purely a level that involves a killer reveal and a monologue, and one major character other than Blanc who goes through an essential arc whilst cracking the case. Even still, the freshness in legitimately every other way elevates the material with a crackling staying power. Close devours her role as Martha, screaming in hysteria whenever possible to comedic effect. Each conversation between Benoit and Jud is a masterclass. Of the new cast members, Close and O’Connor are the undeniable MVPs. The intimacy of the individual sleuthing this time also feels darker, with a finer intent. Elevating a concept that was already of the highest quality in the first place may sound like a tall order, but Johnson’s devilish, faith-charged script is more than up for the task.
Wake Up Dead Man takes a unique approach in tackling religion without mocking the faithful in the process. Duplenticy’s devotion to God never wavers, and his commitment to his ultimate mission somehow endears the character even further. Decidedly different from the previous two entries, this one also gives us a de facto epilogue that catches us up with the majority of our ensemble’s ultimate endgame. Benoit Blanc remains just as Southern as before, albeit with a fun push of overstepping. His methods clash against that of the police chief, who clings to her law book till the bitter end. By the time we actually get to that long-awaited monologue, it rivals even the first film as far as both delivery and emotional significance are concerned.
Unlike Glass Onion—which doubled down on the Blanc strangeness and silly comedy—Wake Up Dead Man carries a heavier weight. Winning over those who were not crazy about the other two installments could actually be a possibility. It holds the best performance of the series thus far in Josh O’Connor’s layered priest. Not a single suspect sticks out poorly amongst the roster; all contribute to the greater whole. Once all the pieces slide into place, the answers have never been more satisfying. Not only is Johnson’s latest the best mystery-movie of the year—Wake Up Dead Man is one of the best films, full stop. Where will Benoit Blanc take us next? Harlot whores and killer priests of all ages will bow down at the altar of their newest obsession.
Wake Up Dead Man: A Knives Out Mystery prays for holy forgiveness when it releases globally to Netflix on Friday, December 12th. Now playing in limited release theatres.
