Directed by: Rian Johnson
Written by: Rian Johnson
Run Time: 2 hours 26 mins
Between Knives Out (2019) and Glass Onion (2022), American writer-director Rian Johnson has quickly become the master of the modern murder-mystery – no mean feat, considering the vast popularity and prevalence of the genre at present. His star-studded casts and intelligent screenplays make his whodunits feel elevated, but without ever slipping into pretension or sacrificing any entertainment value. Subsequently, each new instalment arrives with mounting anticipation – and his latest mystery, Wake Up Dead Man, is no exception.
Taking Benoit Blanc (Daniel Craig) to Chimney Rock, a small town in upstate New York, Wake Up Dead Man sees the famed detective investigate a murder within the Parish of Our Lady of Perpetual Fortitude. Newly-ordained Rev. Jud Duplenticy (Josh O’Connor) is quickly labelled the prime suspect, forcing the young priest to work alongside Blanc to clear his name and find the real culprit. But with everyone remaining a suspect, perhaps Blanc’s conclusions will only confirm the suspicions of the congregation so quick to condemn their own clergyman.
Until now, Johnson’s mysteries have explored themes of wealth, greed, and the abuse of power — so it feels fitting that his latest whodunit unfolds within the cold, coercive walls of a church. Not only does this setting allow him to deepen those familiar commentaries, but it also opens the door to new ideas about faith, religion, and existential purpose. He explores these with impressive intent, relegating Blanc to an almost supporting role in favour of Josh O’Connor’s Father Jud, who carries much of the mystery’s emotional and narrative weight.
This dynamic is established from the outset, with Father Jud penning a letter to Blanc detailing the events leading up to the murder. While this naturally provides the audience with essential context, it initially feels like somewhat of an exposition dump. With a mystery as intricate as the one presented here, this may have been unavoidable — but Johnson, clearly keen to avoid alienating his audience, intuitively offsets the overload of information with humour aplenty, keeping things consistently compelling.
Some may well be disappointed with the lack of Daniel Craig’s southern sleuth in this opening act, but with O’Connor so confidently plotting out the drama as the culprit in the pulpit, he proves himself more than capable of being Craig’s alternate. Better still, when Blanc does make his eventual entrance, he arrives in such effortlessly self-assured manner that he makes you forget he’s been almost entirely absent up until now. Then, what follows is one of the most unlikely but truly wonderful pairings. Both private eye and priest share the screen delightfully, offering some of the series’ very best gags, but also many of its most profound pauses.
Craig once again excels in a role that he so clearly relishes, bringing his perfect comedic timing once more. As whether it be a reactionary expression or a hilarious interjection his portrayal of Blanc only gets more enjoyable each time we encounter him. Opposite him, O’Connor offers his own kind of humour too, in addition to his more thoughtful take on Father Jud’s inner – and at times outer – spiritual turmoil.
Aside from this central, scene-stealing duo, the cast — as expected — features several other standouts. Josh Brolin makes quite the impression as the formidable Msgr. Jefferson Wicks, the head priest of the parish who feels more cult leader than spiritual mentor. While Glenn Close is predictably entertaining as his devout, if occasionally hysterical follower Martha. Elsewhere, the wider ensemble — including Jeremy Renner, Kerry Washington, Andrew Scott, Daryl McCormack, and Cailee Spaeny — isn’t quite as fun or memorable as Johnson’s previous lineups. They all have their moments, but they’re simply not as good company as we’ve come to expect. Still, if a slightly weaker ensemble is the trade-off for these two or three more sharply defined and captivating characters, Johnson may be offering a fairer deal than it first appears.
As with its tighter focus on Father Jud, Wake Up Dead Man becomes more than just a murder mystery — it’s a young man’s reckoning with his past in search of purpose in the present. In doing so, he unlocks something in those around him, exposing a community of lost sheep and their deceptive shepherd. This marriage of church control and holy homicide sees Johnson deliver his most stimulating screenplay yet, even if the theatrics and parlour tricks we’ve become accustomed to feel ever so slightly dialled down. Then again, this matches the gloomier, more gothic tone that – despite being a Netflix movie – Johnson captures stylishly throughout.
This more distinct style, coupled with his shifts in perspective, confirms that rather than retread the well-worn steps of his previous mysteries in an uninspired attempt to recreate their magic, Johnson strikes out in a bold new direction — one that places faith in his audience to follow him there. And for those willing to take this leap, Wake Up Dead Man offers a divine reward — one that will leave them rejoicing in the undeniable cinematic truth that Knives Out has truly never felt more alive.
Star Rating: ★ ★ ★ ★
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