Rian Johnson’s Wake Up Dead Man is nothing short of a triumph — a devilishly clever, darkly funny, and unexpectedly heartfelt addition to the Knives Out saga. If the first film was a polished modern mystery and Glass Onion a glittering satire, this third instalment dives into murkier waters — a Gothic fever dream of faith, guilt, and deception that somehow manages to be Johnson’s darkest and most playful work yet.
Daniel Craig returns as the incomparable Benoit Blanc, his thick southern drawl and dapper poise are as delightful as ever. But this time, he shares the spotlight with the always brilliant Josh O’Connor, who delivers an impressive turn as Father Jud — a hot-headed ex-boxer turned priest exiled to a fog-soaked parish in Chimney Rock, upstate New York. O’Connor’s performance is dryly comic one moment, quietly tormented the next. He grounds the absurdity with real human tension, and the result is pure magic.
The film’s setting — a decaying church and its shadowy graveyard — feels like it’s been plucked from the pages of Edgar Allan Poe, a clear influence on Johnson’s direction this time around. There’s a constant tug between sin and salvation, between the holy and the ridiculous. The choice to embed a murder mystery in a world of confession and penance was an inspired one; everyone here has something to hide, and no one’s soul is spotless.
Johnson’s script is razor-sharp, brimming with wry humour and the usual wit. The supporting cast shines — Glenn Close is delightfully unhinged as the housekeeper Martha, channelling Mrs. Danvers in Rebecca. Josh Brolin’s Monsignor Wicks is all fire and fury; and Daryl McCormack, Andrew Scott, Kerry Washington, Jeremy Renner and Cailee Spaeny all contribute to the film’s rich, eccentric tapestry. Even minor characters feel alive, each a potential sinner, suspect, or both.
The mystery itself unfolds with exquisite pacing. Johnson toys with perspective, using Father Jud’s confessional narration to guide us through layers of deceit. Red herrings abound but it never feels forced. Instead, the film rewards close attention, each twist hitting with both surprise and inevitability.
If there’s a flaw, it’s that Wake Up Dead Man threatens to overstay its welcome at over two hours long. But when a film is this confidently executed, it’s hard to complain.
By the end, you realise Wake Up Dead Man doesn’t just continue the Knives Out tradition — it deepens it. Johnson proves that he can evolve the formula without losing the fun. Craig remains the beating heart of the franchise, but this time O’Connor almost steals it clean away.
Smart, stylish, and hauntingly funny, this film is proof that the modern whodunit is alive and very, very well.
