Rian Johnson. Daniel Craig. Murder. A cinematic match made in heaven. I have loved the previous two journeys into the Benoit Blanc cinematic universe so far, even if Glass Onion never really had a chance to top Knives Out. Wake Up, Dead Man maintains the murder mystery pedigree this franchise is now beloved for, and it’s clear that Looper mastermind Rian Johnson is killing it with these films and having fun while doing it.
Benoit Blanc’s latest investigation takes us away from the remote island of Glass Onion to a quaint upstate New York town and its flock of Catholics who herd under Monsignor Wicks (Josh Brolin), a much-maligned priest known for his aggressive sermons and alternative church practices. After an altercation with a deacon, former boxer-turned-priest Jud Duplenticy (Josh O’Connor) is transferred to work for and assist Wicks, while ideally cultivating a new identity for the church. Wicks and Duplenticy develop an adversarial relationship, as Wicks senses he is there to cut him out. When Wicks is murdered in a cupboard with no culprit or method of attack in sight, Duplenticy’s poor relationship with Wicks places him in the firing line as the lead suspect. Cue one Mr Benoit Blanc (Daniel Craig).
The setup for this case’s murder is that of an impossible crime. How could someone have a knife in the back after entering a room alone with no other entry points? This complicated crime serves as the backdrop for a rumination on faith, politics, morality and corruption. Johnson has maintained the clever wit and political sharpness of the prior two entries, while introducing some physical comedy in places that all feel really well balanced.
However, before delving into the positives, I need to discuss one key gripe with Wake Up, Dead Man: the flock. These films have become known for their strong and often strangely blended ensemble cast. Jamie Lee Curtis, Chris Evans, Don Johnson, Edward Norton, and Kate Hudson are just a few of the Knives Out alumni. While there will always be weaker members of an ensemble, the prior two entries have given most of the cast time to shine and develop them all well as suspects. The interrogation scenes from Knives Out will always be a particular highlight for me. The ensemble in Wake Up, Dead Man, however, felt rather lacklustre, which is a shame when you look at the cast of suspects. Andrew Scott, a former hot priest, plays Lee Ross, a struggling sci-fi writer whose turn to faith has inspired a new novel. Glenn Close’ Martha is a loyal administrator to Monsignor Wicks, and has a troubled past within the church. Jeremy Renner’s local Doctor, Nat, is a recent divorcee and alcoholic whose bitterness toward his ex-wife has left him desperate. Cailee Spaeny’s Simone Vivane is a talented cellist struggling with chronic pain and has turned to God for healing following promises made by Wicks. Kerry Washington portrays Vera Draven, Wicks’s lawyer, who inherited the family business from her father. She’s also the reluctant adopted sister to Cy Draven, an ambitious politician and online grifter. Thomas Haden Church and Mila Kunis round out the cast as Samson, the Groundskeeper, and the police detective Geraldine assigned to the Wicks case.
It’s not to say that any actor within the ensemble is doing a poor job by any means. Everyone is relishing in what they are given to work with, but the script unfortunately underwrites all of them. Kunis was surprisingly enjoyable, especially as I expected her to be one of the weaker members of the case, but her levity was appreciated. Spaeny’s cellist had great potential for an arc delving into why people find faith for the wrong or selfish reasons, in her quest for healing, but ultimately only dips its toe into that aspect. Jeremy Renner’s desperate performance is engaging, and he contributes to one of the film’s funniest scenes and one of its interesting twists. However, on the other end, Andrew Scott and Kerry Washington’s characters feel a little one-note, both lost in a similar lack of purpose. Glenn Close is so fun and perfect for her role, breaking down into passages of prayer at the slightest inconvenience. Daryl McCormack’s Cy Draven is the most intriguing character. His constant recording and manipulation of events feels very true to our time in an era of political grifting and clickbaiting. There is a monologue where he discusses all the angles he’s used to win votes, all completely at odds with the last, which felt particularly on the pulse of current society. While the ensemble has moments to shine, I wonder if a couple of members could’ve been cut, especially when so many are lacking arcs that had proper potential. While everyone is on their A-game, the flock perhaps could’ve used a cull of one or two.
The highlight as ever in a Knives Out flick is the lead. Josh O’Connor follows Ana de Armas and Janelle Monae’s footsteps and delivers the best lead performance this franchise has seen yet. Jud Duplenticy is a complex soul, haunted by a dark past in boxing, and finding healing in Christianity. O’Connor toes the line between aggression and serenity so effortlessly, as rage from his past life bubbles under the surface constantly. Not only is the performance top-notch, but this is one of the most complete and compelling character arcs that the series has offered up. We see as Jud struggles with his rage, as he’s goaded by Wicks, and his desire to restore the church to its former glory. You can feel the good that Father Jud wants to provide the town, and how he relishes the healing power of his faith. This is hammered home by a touching scene as Jud spends hours on the phone caring for and praying with a concerned resident of the town, showcasing the compassion he has also found in God. While every Knives Out lead has an innate sense of good, what is amazing about O’Connor’s performance is that, despite seeing the good on the surface level, we can never fully trust him, knowing his past life. It’s a performance that highlights the healing feeling in finding faith, and just one side of the coin that Wake Up, Dead Man is aiming to portray of religion.
Daniel Craig as Benoit Blanc is once again phenomenal. His entrance into the narrative this time is more delayed, which worked great to give Jud the room to breathe and build himself as a protagonist. When Blanc finally enters the picture, it feels important, turning down a whole new avenue in the case. Blanc plays off of Jud so well. As a methodical and gay man, his rejection of the Catholic faith as a way of life is completely believable, but what is beautiful about Blanc as a character is his open mind to the things he does not relate to or understand. He is not a man of the cloth, but he can see how Jud found security in God. I always love how you can feel that Blanc knows what’s going on, while acting oblivious to the rest of the cast around him. Johnson writes Blanc to have an attitude that those should confess of their free will, without pressure. It is a great choice, as it gives this already stellar cast room to perform, without needing his powerful monologue. A particular moment, as Blanc hesitates in his speech so as not to run away with himself, while feigning ignorance, is a real highlight. Also, how does he always arrive at a murder scene so well-dressed? I want the number of his tailor ASAP.
On the other side of the biblical coin is Brolin’s Wicks. A force of nature, hypocrisy and corruption, a family tragedy has left him bitter and preaching an alternative view to his flock. A seedy figure, he has his fingers in many pies, and his corruption runs deep. Wicks is a charismatic figure, someone you would run into the fire (or write a so-so sci-fi novel) for. Brolin’s performance is electric, especially in his altercations with Jud. Fearing being ousted from his church and losing his flock, he hounds Jud with guerrilla warfare, forcing him to take his confession, only to detail his sinful acts of masturbation. There are many levels to the corrupt Monsignor that mesh seamlessly into the narrative, showcasing how much his warped view of faith has crushed him into a bitter man. My only wish is that there could’ve been more interaction between Wicks and his flock, not only to demonstrate how sheep-like and misguided they all are, but also how Wicks feeds himself off of their broken outlook on faith. However, it is something I’m happy to let slide, as the film could’ve felt bloated after it already struggled to establish its wider ensemble.
I have mixed feelings about Glenn Close’s Martha. A doting assistant, she predates Wicks’ tenure at the church, having witnessed the tragedy that put a mark on the church in her youth. Her unwavering loyalty to Wicks and to God is almost stifling, and played at a canter by Close, which should be no surprise. However, a casting of her magnitude and the character she is playing both lead to a predictable payoff, as you can rarely trust someone so blindingly loyal. A great performance, but a bit on the nose for a whodunit.
Rian Johnson’s deconstruction of faith in this film is the clear theme, and it is dealt with a deft touch. There are so many angles why one may seek a faith: redemption, spite, desperation, rage, and fear, the list could go on. Johnson takes his opportunity to deconstruct each of these angles through his ensemble. As a viewer, you come to sympathise with almost everyone in their journey with God and place in the flock, and those that anger you, like Cy, do so in such a frustratingly understandable way. This flock has such a big blend of grift and gratitude to faith that is very reflective of modern life today, especially in a world where ‘finding God’ can often be a route of ‘Cancellation Close’
A film treating religion with such care deserves a church to match, and the production design was nailed here. The exteriors of the church were shot on location in Essex in the UK, while the interiors were built in a studio. While it reflects many of the Gothic styling of its UK shell, there are many great touches made to reflect the American design of the building. Wicks’ altar is needlessly ornate, connoting his inflated ego but also the extravagance of the culture. The same goes for their vestment, which has a touch more vibrance than you’d see in other cultures. So many minute detials make the church feel like a weathered space, and great work is done on the lighting to emulate the natural style the exterior shots aim for.
The lighting as a whole, along with the soundtracking, was fantastic, having a naturalistic feel that so many films are missing these days. Rooms shift from light to dark at the perfect moment, driving the scenes as much as the performances are. In an era. of poorly lit films, Wake Up, Dead Man exemplifies how good a film can look when lighting isn’t an afterthought, but a main feature.
Overall, I loved Wake Up, Dead Man. While the plot isn’t anything out of this world, and is a little predictable, these characters are so enjoyable to watch, especially when bouncing off of Josh O’Connor’s electric performance. If you didn’t believe O’Connor could lead, now you will. Craig is enjoyable as ever as Blanc, and it is just so refreshing to see how much fun he’s getting to have post-Bond, and the world is better for it. If you can find a cinema playing it, do your duty and get out and watch this, as Netflix simply won’t do it justice.
Wake Up Dead Man: A Knives Out Mystery is in select cinemas now and is released on Netflix on December 12th.
Bradley Whittam (born February 11, 2003) is a British film and television graduate, journalist and filmmaker. Having studied film since the age of 16, Bradley has since worked on several short films at university, primarily as an editor. He has also begun posting social media content surrounding films online.
@bradtalksfilm (TikTok), @_bradely_ (Instagram) and @bradwhitt03@outlook.com (email).
