Wake Up Dead Man: A Knives Out Mystery Review
This review is based on a screening which took place at the 2025 Toronto International Film Festival. Wake Up Dead Man: A Knives Out Mystery will be released in select theaters on November 26 and on Netflix on December 12.After a brief sojourn in a galaxy far, far away, acclaimed director Rian Johnson has spent the past eight years working on the macabre misadventures of Daniel Craig’s detective Benoit Blanc. As a Netflix film, Wake Up Dead Man: A Knives Out Mystery will get a limited theatrical release, but it will ultimately be seen by most audiences on the small screen. That’s a shame, since it looks great and would likely go over well as a late autumn crowdpleaser. It’s also the first movie in the series that’s a straightforward murder mystery instead of a subversion of one, which winds up being the film’s best attribute.Wake Up Dead Man: A Knives Out Mystery PhotosThe film starts off not with Blanc, but with our functional main character: Reverend Jud Duplencity (Josh O’Connor), a down-on-his-luck young priest assigned to aid a small, insular parish led by the domineering Monsignor Jefferson Wicks (Josh Brolin). Wicks is an elder firebrand who keeps his small group of churchgoing regulars in check with rants and deceit, leading Jud to take no small umbrage with the man. But when, after a sermon, Wicks collapses with a blade in his back, there is no obvious way for someone to have killed him, even though all eyes fall on Jud for having the most obvious motive. Enter Craig’s Benoit Blanc, who finds what might just be his most perplexing case yet.As a general supporter of Johnson’s films who was severely disappointed in the second film in this series, Glass Onion, it’s good to see the director back in strong form with Wake Up Dead Man. It doesn’t beat Knives Out for emotional resonance – O’Connor’s layered but understated turn as Jud doesn’t quite generate the same amount of pathos as Ana de Armas’ Marta did in the first film, but gets close – but it does wind up being the best mystery of the bunch. The answer here is not obvious and the method of how the killing and subsequent machinations were achieved is actually inventive. And while not every plot beat or line of dialogue is perfectly executed, Johnson’s command of his directorial style is as capable as it’s ever been.Daniel Craig is as watchable as he’s ever been, but like with previous Blanc films, Rian Johnson stuffs his cast and then fails to give half of them anything to do.This is especially true of the film’s visuals. Johnson’s films, all of which have been photographed by long-time collaborator Steve Yedlin, always look fantastic, and Wake Up Dead Man is no exception. Although the marketing may have oversold the film’s alleged “Gothic” influence, which amounts to no more than two or three standout moments, the earthy, green-brown color palette and use of lighting and framing conjures a genuinely cozy atmosphere in its early segments. This makes the darker turns later on feel like an invasion of a sanctified space, and since the film is about a small church unravelling after the death of their pastor, it’s a potent parallel.Yet if Wake Up Dead Man is a stronger film than its predecessor in terms of plot, it shares the same weaknesses in terms of character. Craig is as watchable as he’s ever been and both O’Connor and Brolin do their jobs admirably, but like with previous Blanc films, Johnson stuffs his cast with capable performers and then fails to give half of them anything to do. Talented actors like Kerry Washington, Andrew Scott and Cailee Spaeny are technically in this movie, but they don’t leave an impression because the screenplay doesn’t afford them much room. This is doubly frustrating because every member of Wicks’ parish is given at least a hint of a motive, but the movie doesn’t develop many of them beyond a cursory setup, leaving these characters stranded as they search for a purpose the film never bothers to provide.Also, Johnson hasn’t completely curbed his worst inclinations as a writer, sneaking in several cheeky references to things like Star Wars, his deal with Netflix, and discussing the tropes of classic murder mystery novels like John Dickson Carr’s The Hollow Man. Most of these gags feel like Johnson playing to the audience instead of the characters acting in-character, which hurts the movie’s verisimilitude. It’s not a dealbreaker by any means, but if Johnson intends to keep going with this series, it’s a tendency he’d be wise to drop. Still, the auteur filmmaker following up Knives Out’s novel inversion of the classic whodunnit formula and Glass Onion’s sadly leaden and poorly structured plot with a real-deal murder mystery without any gimmicks was exactly what the series needed.
