The mystery genre goes to confess its sins in Wake Up Dead Man, and Rian Johnson’s not here to grant forgiveness. The third instalment in the Knives Out series finds Benoit Blanc pulled into his darkest case yet, a murder that blurs the line between faith and obsession. Set in a quaint church in a small New York town, the film trades the mansions and millionaires the series is known for, with pews and graveyards. Whilst still sharp and twisty, the film aims for something deeper, a mystery that feels personal, heavy with consequence, and unafraid to get a little biblical.
For all its talk of sin and salvation, Wake Up Dead Man is wickedly funny. Johnson has not abandoned his taste for sharp dialogue and funny character dynamics. Daniel Craig’s Benoit Blanc remains a master of comedic timing, but it’s Josh O’Connor as Jud Duplenticy who steals scenes as a standout lead, delivering moments of wit and charm that feels effortless. The film balances the humour with tension, which hits harder by being grounded in character rather than spectacle. It’s a film that makes you laugh at the absurdity of it all, only to remind you there’s blood on the floor.
Each frame is meticulously crafted, steeped in shadow and candlelight, carefully composing the scenes to not only create tension but foreshadow the secrets lurking within the church’s walls. Whilst the film’s slower pace allows for deeper exploration of the investigation, much of the ensemble cast such as Kerry Washington, Andrew Scott and Cailee Spaeny feels underused, with their purpose solely being to move the story forward. And, whilst they delivered incredible performances, their potential was left untapped. Despite this, Johnson blends his signature sharpness with a darker aesthetic to create a world that is eerie and darkly funny – a fitting stage for a story that balances sin, suspense and moral conscience.
Yet, beyond the murder mystery and the laughs, Wake Up Dead Man is preoccupied with morality, guilt and the decisions that return to haunt us. Johnson uses Blanc’s investigation to explore faith and ethics within the church, making the story feel less than a whodunnit and more a moral trial. The film’s religious undertones, hinted at through the setting and visual symbolism, give the smaller scenes extra weight, turning a casual conversation into a confession and every revelation into a judgement. It’s a bold choice for a genre that often favours cleverness over conscience, and it works in the film’s favour, opening a conversation that lasts long after the lights come up.
Ultimately, Wake Up Dead Man is a complex, darkly funny and visually striking entry in the Knives Out series. Whilst it may not always move at a brisk pace and the ensemble cast is underutilised in a story that demands importance, Daniel Craig and Josh O’Connor form a dynamic duo, carrying the story with charisma and wit, yet unafaid to delve into the emotional depth of it. Johnson balances humour, suspense, and morals in a way that keeps the audience engaged, even when the narrative lingers. And, while the story is tied up with a bow at the end, providing a satisfying resolution. It leaves a lingering question about guilt, choice, and the price of doing the right thing.
Wake Up Dead Man lands in select UK cinemas on November 26th and will be available to stream on Netflix from December 12th.
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