‘Wake Up Dead Man’ sharpens the ‘Knives Out’ formula to an Occam’s razor’s edge

“Wake Up Dead Man”
PG-13 | 144 minutes
Director/Writer: Rian Johnson
Stars: Daniel Craig, Josh O’Connor, Glenn Close

The perfect whodunit doesn’t exist. Or, does it? 

Writer and director Rian Johnson challenges that age-old question with his latest film, “Wake Up Dead Man,” and gives audiences a clever, unconvoluted caper that is as intellectually satisfying as it is wildly entertaining and proves the “Knives Out” series is far from running out of sharp ideas.

This third outing for the world’s greatest detective, Benoit Blanc (Daniel Craig), is a sinfully entertaining, expertly crafted mystery that marries the playful spirit of Agatha Christie with a dash of Hammett’s grit, all while delivering the most atmospherically potent and satisfying puzzle of the trilogy.

We’re thrust into the story in a letter to Blanc himself, delivering us into the storm-lashed world of Chimney Rock and the parish of Our Lady of Perpetual Fortitude. Here, a young priest with a bruised past, Father Jud Duplenticy (Josh O’Connor), finds himself under the thumb of the fearmongering Monsignor Jefferson Wicks (Josh Brolin). Their tension is a live wire, crackling with barely concealed contempt that quickly escalates from theological sparring to something far more sinister.

The film belongs to Josh O’Connor, who delivers a captivating performance brimming with sensitivity, vulnerability and a simmering, empathetic vengeance. Father Jud is complex — a man seeking grace for his violent past amidst a new flock of wolves. O’Connor makes him profoundly relatable, his earnest faith providing a compelling moral center against which the other characters’ hypocrisies starkly contrast.

When death predictably comes knocking at this cloistered community, Blanc is summoned to untangle a web of faith, guilt and long-buried secrets. Daniel Craig, now utterly at home in Blanc’s linen suits and Foghorn Leghorn drawl, remains the franchise’s hilarious and beating heart. His chemistry with O’Connor is a particular delight, their dynamic evolving into a partnership that is both funny and deeply moving.

They are supported by a star-studded ensemble. Glenn Close, as the formidable Martha Delacroix, continues to be a masterclass in screen presence, stealing scenes with a mere glance from the background. Jeremy Renner, Andrew Scott and Daryl McCormack expertly mine the pathetic, comedic depths of their self-obsessed characters, while Cailee Spaeny and Thomas Haden Church offer more sympathetic, grounded counterpoints.

“Wake Up Dead Man” distinguishes itself with a distinct and deliciously dark new aesthetic. Johnson and cinematographer Steve Yedlin trade the sun-dappled mansions of the past for shadowy stone corridors, rain-slicked graveyards, and haunting medieval architecture.

The film also bravely wades into the deep waters of religious debate, using its setting to explore faith, fanaticism and the power of words. In the process of one interrogation Blanc observes, “What I see is not a guilty man in torment, but an innocent man tormented by guilt” — a line that echoes through the film’s core exploration of sin and redemption. While some may find its thematic arguments broad, they successfully frame the mystery within higher stakes — the festering hatred in isolated communities and the spiritual cost of failing to let go. It provides a substantive backbone that elevates the caper beyond mere puzzle-box mechanics.

While the “who” in this whodunit may not ultimately shock the most seasoned sleuth, Johnson brilliantly shifts the focus to the “how” and, more importantly, the “why.” The mystery unfolds like a series of ornate Russian dolls, each revelation exposing a deeper, darker layer beneath. The closed-circle setup is masterfully compromised by flashbacks and hidden histories, ensuring the audience is constantly re-evaluating loyalties and motives. The solution is not just clever; it feels both surprising and inevitably right, a testament to Johnson’s meticulously constructed plotting where every character, line, and prop has a deliberate purpose.

With a breakout performance from Josh O’Connor, a perfectly pitched performance from Daniel Craig, and an ensemble having the time of their lives, “Wake Up Dead Man” is not just a great whodunit; it’s a compelling drama about guilt, grace and the ghosts we choose to bury. It’s a reminder of the pure, unadulterated joy of being led down a dark path by a master storyteller, only to have the lights flipped on in the most spectacular way imaginable.

“Wake Up Dead Man” is a triumphant return to form that rectifies the minor missteps of “Glass Onion,” offering a mystery that is more intricate, more atmospheric and, ultimately, more emotionally resonant than what came before. It is a film that demands — and rewards — repeat viewings, its layers promising new details to uncover each time. ♦