Hard to know where to start. I guess to talk about reviewing Wake Up, Dead Man through my eyes, I got to start here. The third installment in what director Rian Johnson calls The Benoit Blanc Mysteries, but others call the Knives Out films, was released on Netflix on December 12. Wake Up, Dead Man serves as another standalone story in a series of cleverly imposed mysteries centered around Daniel Craig’s iconic private detective with Southern charm, Benoit Blanc. And this time, he is contacted to investigate a supposed “impossible murder” of a monsignor in a parish in a small New England town. Packed once more with a star-studded cast and all the quirks that make a Knives Out mystery what it is, Johnson has upped his game when it comes to this film. From adding elements that blend in with the cozy pastiche of the mystery genre to putting in more fresh elements that make this story stand out amongst the other two movies. Everything brought forth to the table, from the acting to the production, to even the thematic undertones in the story, makes this film fit in yet stand out in the world of Benoit Blanc.

What starts as a story of former boxer turned priest Jud Duplenticy (Josh O’Connor) trying to get by after being reassigned to a small-town parish led by Monsignor Jefferson Wicks (Josh Brolin), a pastor with questionable intentions, turns into a classic locked room mystery that ends up being shrouded in conspiracy that entangles die-hard followers of the monsignor’s congregation with the dark secrets concerning the church’s history and a lost family fortune. And all of that comes to a head as Jud’s reputation is dragged through the mud as the pieces and connections begin to look more scattered. The story doesn’t just cover a seemingly impossible crime as much as it does explore themes of faith, original sin, and selective narratives. It all fits within the scope of Benoit Blanc mysteries having central themes that nod towards certain current societal issues. In the case of Wake Up, Dead Man, it focuses on how the usage of faith and rhetoric shapes how people view what’s around them. The characters’ motivations and behaviors focus a lot on what they believe in and how they spin narratives in their favor. It plays a large part in the motives behind the murder and the conflicts between the suspects. And best of all, the writing brings a smart message behind the usage of faith, in that it should not be used to shield from responsibility or
exploit the weak. It perfectly fits Jud’s character and gives even those not affiliated with any sort of faith, exemplified by Blanc, a sense of perspective as to the positives of having faith.

Befitting of every Rian Johnson piece, this film is as star-studded to the brim as it could get. Assisting Blanc and Jud in the investigation is the local Chief of Police, Geraldine Scott (Mila Kunis). And rounding up the suspect list this time is devout church manager Martha Delacroix (Glenn Close), groundskeeper Samson Holt (Thomas Haden Church), divorced alcoholic doctor Nat Sharpe (Jeremy Renner), spiraling author Lee Ross (Andrew Scott), ailing cellist Simone Vivane (Cailee Spaeny), sudden adoptive mother Vera Draven (Kerry Washington), and her failed politician adopted son Cy (Daryl McCormack). All actors involved bring the proper complex performances that keep the mystery ambiguous and leave audiences guessing. As
perspectives flip while the puzzle pieces try to connect, a lot of effort is put into how everyone’s motives fit into their personalities. The notable characters of the story include the framed Father Jud, whose desperation for innocence ends up toying with what he believes in, Monsignor Wicks, who is developed to be jarring and unconventional, unlike any other murder victim in the world of Knives Out, and manager Martha, whose overabundance of faith makes her desperate for a miracle. O’Connor, Brolin, and Close deliver captivating performances of their characters’ journeys and development while also showing their faults and flaws.

Of course, Craig shouldn’t be counted out, as Blanc ends up getting some development to go with his consistent portrayal as the gentleman detective. Blanc explores the various perspectives provided by the ensemble and, as always, follows through with a perfect summation of events with a dash
of calculation so that the true culprit comes through in the end. It demonstrates that Detective Blanc remains adaptable to whatever situation and suspects he faces, allowing the case to be solved in a manner that is understandable to all. Of course, much support should also be given to the overall production behind the scenes. Rian Johnson did an excellent job in keeping a consistent style with the franchise, from making sure the story’s
cinematography remains truly dynamic while focusing on all that the audience should be focusing on, to blending in classic elements of a murder mystery with modern, meticulous deconstruction. And once again, his fellow production collaborators Steve Yedlin and Nathan Johnson bring out the best in their cinematography and soundtrack composition, respectively. The set design and the soundtrack best fit the overall themes of the location and the story, with the overall vibe of the music blending in with the neo-gothic style of not only the church, but the small New England town of Chimney Rock. The spiritualistic tones tie in with the parallels presented visually, with the conflict between how people interpret faith and what they truly believe to be good or bad morals. Every piece of design stands out, from the intricate character designs to the many props and set pieces that go together with the locations or become vital to the whole mystery.

But the biggest compliment for the film as a whole goes to the writing and structure. All of the presented elements and behind-the-scenes contributions make the movie a thoughtful experience, whether someone is watching for the first time or for the second time. Like any good mystery, there are always details and moments that may seem normal or look off at first glance, but when everything comes together, all of those elements now have a true meaning, even if whoever is referring to those moments turns out to be unreliable in a way. Unlike the last two movies, Wake Up, Dead Man gets the events before the murder out of the way, while also setting the scene with our eccentric cast of characters. Every suspect has their flaws, but this film ups the ante by having even the victim become the subject of contempt, while Knives Out and Glass Onion had a major sympathetic quality to their victims. Rian Johnson truly knows how to deliver his artistic vision and mystery structures from pen and paper to the big screen. All in all, Wake Up, Dead Man is another modern classic that gives a significant contribution to the legacy of Benoit Blanc. Whether it brings people back to the familiar comfort of a classic literary mystery or it brings those who are interested into the foray, this movie pulls all of the stops in what makes murder mysteries fit in the modern day and also makes fun of them at times. In true Rian Johnson fashion, we get a stacked cast of stars bringing out their best while being situated in an eccentric location that brings out the story’s quirks, and a stunning mystery that leaves viewers immersed and invested until the true culprit is exposed. Even better is the replayability factor, where the true context and all the minute details become present in
hindsight as audiences becomes more observant and start thinking like a detective. And it all comes complete with a message that resonates with current events and issues that befit all of society. Like with all the other Benoit Blanc mysteries, Wake Up, Dead Man is a must-see for those who want an intriguing message with a hopeful message, and it will leave them looking forward to a fourth film sometime in the future