Dir: Rian Johnson
Cast: Daniel Craig, Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church, Jeffrey Wright
Rian Johnson continues to explore the seasons with his third Benoit Blanc murder-mystery, cleverly weaving the Easter backdrop into a witty and gripping clash between faith and secularism
Rian Johnson, who emerged as one of the standout, up-and-coming talents in the mid to late 2000s, faced a storm of backlash from die-hard Star Wars fans after the divisive release of “The Last Jedi” in 2017. J. J. Abrams had previously reignited the beloved franchise before passing the creative torch to Johnson for the trilogy’s second chapter. While I consider Johnson’s entry the most daring and original of the new series, his bold storytelling and unexpected character twists left many fans unsettled. I believe this criticism was undeserved, and over time, audiences have grown more appreciative of “The Last Jedi”, especially following the disappointment of the god awful finale, “The Rise of Skywalker”, when Abrams returned to the helm.
Luckily, the backlash barely dented Johnson’s creative spark. He had already dazzled us with the razor-sharp neo-noir mystery “Brick” (2008), the whimsical caper “The Brothers Bloom” (2008), and the mind-bending sci-fi thriller “Looper” (2012), not to mention his unforgettable work on the “Breaking Bad” episode Ozymandias, which is widely regarded as one of the greatest episodes of television of all time. As the Star Wars saga stumbled, Johnson was busy reclaiming the spotlight with “Knives Out”, a brilliantly woven murder mystery that saluted the works of Agatha Christie while weaving in timely social commentary. The film became both a box office sensation and a critical favourite, with a star-studded cast led by the delightful Daniel Craig, who shed his Bond persona to become the charming, Southern-fried sleuth Benoit Blanc. Watching Craig trade in his tuxedo for Blanc’s eccentric flair was a delight, and with the mystery novelist’s murder solved in 2019, it was clear this would not be Blanc’s final bow.
After “Knives Out” raked in over $300 million on a modest budget, Netflix quickly snapped up the rights, eager for as many sequels as Johnson and Craig could dream up. The first, “Glass Onion”, arrived in 2022, bringing a pandemic-era twist and proving Johnson’s well of mysteries was far from dry. By swapping the autumn leaves of New England for the dazzling sun of a Greek island, Johnson kept the series vibrant and unpredictable, refusing to simply rehash what made the original a hit.
Now, three years on, the franchise returns with a third chapter, this time inviting us into a springtime mystery set in upstate New York. After tracking the film’s buzz from its strong showing at the Toronto International Film Festival, where it placed as second runner-up, my anticipation was sky-high. I was fortunate to attend the UK premiere at the 2025 London Film Festival, catching the film ahead of its short theatrical run on November 26 and its much-anticipated arrival on Netflix for the holidays.
Before Craig’s eccentric detective steps onto the scene, we meet Rev. Jud Duplenticy (Josh O’Connor), a young priest with a bruised past as an amateur boxer. After a disciplinary incident, Jud is sent to the quaint town of Chimney Rock, NY. Eager to start anew, he is quickly cautioned by Bishop Langstrom (Jeffrey Wright) about the fiery and controlling Msgr. Jefferson Wicks (Josh Brolin), whom he is to assist. As Jud settles into his new role, he notices a troubling pattern: Wicks uses his sermons to subtly attack members of his flock, testing their faith and whittling his congregation down to a handful of fiercely loyal, almost cult-like followers. Then, after one of Wicks’ infamous tirades during Easter mass, he is found dead in a side chamber of the church, the shocking scene witnessed by both his followers and Jud.
When Jud’s open criticism of Wicks’ harsh methods goes viral on social media, suspicion falls squarely on him, and local police chief Geraldine (Mila Kunis) wastes no time in making Jud her prime suspect. His only hope rests with the arrival of Benoit Blanc, Craig’s flamboyant detective, called in to unravel the mystery. Teaming up with Jud, Blanc dives into the ‘impossible’ Good Friday murder, interrogating a cast of devout and eccentric parishioners: Wicks’ fiercely loyal aide Martha (Glenn Close), the hard-drinking town doctor Nat (Jeremy Renner), struggling author Lee (Andrew Scott), stoic groundskeeper Samson (Thomas Haden Church), disabled former cellist Simone (Cailee Spaeny), tightly-wound lawyer Vera (Kerry Washington), and her politically ambitious adoptive son Cy (Daryl McCormack).
As a devoted fan of Johnson’s first two “Knives Out” films, I wondered how he could possibly keep the magic alive for a third outing. Yet, with a bold new setup and a cascade of inventive twists, the 51-year-old crafts another gripping whodunnit that feels anything but stale. Shifting from the autumnal and summery backdrops of the earlier entries, “Wake Up Dead Man” blooms in a vibrant Spring setting, infusing the story with fresh visuals and weaving the symbolism of Easter deep into the mystery’s core. While the eat-the-rich messaging of the previous films skewered privilege, greed, and family feuds, this latest chapter strikes a deeper chord, tackling the fractured political climate of our times with its most powerful themes yet.
Some of the dialogue lands a bit too directly, especially when McCormack’s social media-obsessed politician rattles off a laundry list of campaign promises. Still, “Wake Up Dead Man” dares to tackle one of humanity’s oldest debates: religion. The film’s sharpest commentary emerges from the electric exchanges between O’Connor and Craig, whose characters stand on opposite sides of faith as they hunt for Wicks’ killer. Blanc, ever the sceptic, is baffled by the case’s impossibilities, while Rev. Jud and his congregation believe there may be divine intervention. Their spirited yet respectful debate over belief and secularism becomes the film’s beating heart, ultimately guiding both to a thoughtful compromise of grace and understanding—something the real world could sorely use. Instead, religion is too often twisted into a weapon and money-making machine, with leaders like Brolin’s fiery priest manipulating followers to serve their own ends, no matter the cost.
The film’s religious undertones are amplified by its gothic atmosphere, with most of the action unfolding amid shadowy church grounds and the surrounding tangled woodland. Like its predecessors, “Wake Up Dead Man” boasts meticulous production design that invites viewers to scour every frame for hidden clues, while also deepening the story’s underlying themes.
Rian Johnson once again pairs Blanc with a standout from the ensemble, with Josh O’Connor taking the reins from Ana de Armas and Janelle Monae in “Knives Out” and “Glass Onion” respectively. O’Connor’s conflicted young priest nearly eclipses Craig’s detective, especially since Blanc doesn’t even enter the fray until thirty minutes in. However, while this focus adds rich thematic layers, it side-lines much of the ensemble—apart from Brolin and Close, the rest are left in the shadows. Johnson’s greatest strength has always been drawing electric chemistry from his star-studded casts, with the family squabbles of “Knives Out” and the sharp-tongued banter of “Glass Onion” giving everyone a chance to shine. Here, though, Spaeny, Renner, Washington, and Scott barely register, their characters lost in the margins of the mystery.
Even if most characters lack depth, their razor-sharp wit remains intact, making this darker, gothic chapter also the funniest yet. Brolin, in particular, steals scenes with his perfectly timed delivery of a running gag about his relentless masturbation habits.
Looking ahead, Johnson and Craig have promised to keep the series alive as long as the fun lasts. With three seasons down and only winter left, it feels inevitable that Benoit Blanc will soon find himself unravelling a Christmas or snowy murder mystery.
The Verdict:
“Wake Up Dead Man” stands as the most wickedly funny and shadowy chapter in the “Knives Out” saga, with Johnson slicing into the Catholic church to serve up sharp social commentary alongside another deliciously tangled murder mystery. Craig now wears the persona of the flamboyant southern sleuth Benoit Blanc like a second skin, and I cannot wait to watch him unravel even more baffling cases in the future.
Wake Up Dead Man is showing in select cinemas from 26th November before streaming on Netflix from 12th December
Dan Loves Film 
very nice.
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