‘Wake Up Dead Man: A Knives Out Mystery’ Review – In Rian Johnson We Trust [LFF 2025]

When developing a third story in a trilogy, it can be tempting to fall back on the same successful tricks that worked before. The first two films, in director Rian Johnson’s (Looper) case, Knives Out and Glass Onion, were hits, so why not reuse familiar elements? That’s exactly what he did with Wake Up Dead Man: A Knives Out Mystery. He’s back with Daniel Craig (Queer), leading a powerhouse ensemble as Benoit Blanc, with quick wit and a solid murder mystery. However, he adds the right amount of darkness, Josh O’Connor (La Chimera) and narrative surprises to make this latest entry in the Knives Out world fresh, creative, and anything but a repeat of what came before.

It’s evident from the start that a) this movie will be darker and gloomier than its predecessors and b) that O’Connor will deliver a scene-stealing performance alongside Craig. We meet his Reverend Jud Duplenticy when he’s on his way to his new calling as a priest at the parish of Our Lady of Perpetual Fortitude in the quiet Chimney Rock. But instead of his time there being a blessing for his soul and body – Duplenticy has killed a man as a boxer in a previous life – it becomes one hell of a ride.

He’s welcomed by the almost tyrannical Monsignor Wicks (Josh Brolin), but definitely not with open arms. Wicks sees Duplenticy more as a threat to his power than as a fellow priest devoted to God. In contrast to the younger priest, who uses a more subtle, gentle, and understanding approach, Wicks uses his impressive demeanour and an iron fist to rule over his flock and make them pay attention during mass. As a towering figure, he commands respect through fear and blind faith, and no one dares to touch him.

That latter is about to change during the Good Friday morning mass when Wicks is stabbed to death out of everyone’s eyesight. Every member of his parish, including his right-hand woman, Martha Delacroix (Glenn Close), the town doctor (Jeremy Renner), and a wannabe famous writer (Andrew Scott), is convinced that the young reverend is behind the murder. Both because he’s a newcomer to the community (can you really trust an outsider?) and because Wicks has been playing dangerous mind games with him, with this murder as a possible result. And then, suddenly, the salvation of the parish and Wick’s redemption step into the light… Benoit Blanc.

While Craig’s entrance in this feature is painfully on the noise, it’s also utterly flawless. His appearance might have changed drastically since Glass Onion (goodbye, short hair; hello, lengthy locks). Still, his knack for comedy and solving cases remains unaffected —if anything, it becomes stronger due to the religious setting. A murder taking place in a church next to a shadowy graveyard naturally gives the story a gothic tone, and both Johnson and Craig use that change to the fullest. As usual, Johnson’s script is razor-sharp and full of humour, wit and a touch of mockery, but this time, he’s not afraid to take it to a whole darker level.

There’s always the dilemma of believing and non-believing, of sin and salvation, and of the holy aspect of worshipping versus the ridiculousness of believing in a God you can’t see. While each parishioner goes to confession, they always have something to hide, and not even their God knows what’s truly going on deep down. After all, no person is entirely innocent. Throughout the story, we learn more about Blanc’s stance on religion, God, and those who pretend to be without fault, and it’s clear that his views clash with those around him. This not only leads to heated moments but also to humour that only Johnson and Craig can deliver with such impact and cleverness.

Equally clever and witty, and quite surprisingly, is how amazingly O’Connor fits into the Knives Out world. He’s brilliant throughout the entire movie, especially in the first part, when there’s no sight of Craig, and he carries the film effortlessly. When he finally meets his on-screen partner-in-crime, his performance becomes even better, and this highly engaging thriller becomes an introspection on religion, facts versus faith, and (the hypocrisy of) the church. Because O’Connor gets a lot more to work with than Ana de Armas (Knives Out) and Janelle Monáe (Glass Onion) as Blanc’s sidekick and potential successor, he and Craig become a tight-knit detective pair and the strongest on-screen duo we’ve seen yet.

As for the rest of the cast members, Close (Fatal Attraction) and Brolin (Weapons) certainly stand out from this dazzling group of talent. The former delivers a pitch-perfect performance as Martha, who has sworn to protect (and ultimately try to avenge) Wicks, the last member of a family close to her. Brolin’s performance is nothing short of eerily excellent as the power-hungry man who will use any (unholy) means to get what he wants. We’re not only talking about the confessions and love of his followers. There’s definitely something menacing in his eyes.

Because Johnson can count on such a vast range of talent, it’s unavoidable that some actors get less screentime than others. Sadly, this time, Renner (Wind River), Scott (All of Us Strangers), Cailee Spaeny (Priscilla), and Kerry Washington (The Six Triple Eight) have drawn the shortest straw. Yes, the filmmaker gives each their moment to shine, but then they vanish into the background as mysteriously as Wicks’ murder.

However, despite that flaw and the movie overstaying its welcome a bit, Wake Up Dead Man: A Knives Out Mystery is undoubtedly the most enthralling, personal, and by far the darkest entry of the three. There might be less humour – don’t worry, Blanc still has terrific one-liners said in only a way Craig could do – but there’s more suspense due to the church setting, and still impeccable performances. Suppose Netflix decides to put its trust in Johnson to create a fourth Benoit Blanc mystery, the filmmaker will certainly again pull out all the stops to deliver a murderously entertaining movie that sticks!

Wake Up Dead Man is part of the Headline Galas section at the BFI London Film Festival 2025. It will be released in select theatres on November 26, 2025. The film will debut on Netflix on December 12th.

Director: Rian Johnson

Writer: Rian Johnson

Rated: PG-13

Runtime: 144m