Faith, Fear and False Idols: Wake Up Dead Man Reviewed

Wake Up Dead Man is the newest addition to Rian Johnson’s Daniel Craig-fronted Knives Out series. Johnson has previously used his expertise in the murder mystery genre to tackle issues of wealth, fame and privilege, but here he turns his attention to an exploration of faith. The cosy manor homes and lavish environments are swapped for a more intimate setting: a quaint church.

Both in Johnson’s script and in his direction, there is a real sense that this film is not just another fun murder mystery, but rather a reflection on his own ideas of faith and religion. Throughout, the film never appears to look down on the church or organised religion as a whole. Instead, it explores the diverse positives and negatives such institutions can have on a person’s life.

The film can also be read as something of a time capsule for where we are now. Johnson translates the fear of a cult of personality, visible in many world leaders today, onto a smaller scale through Josh Brolin’s Monsignor Jefferson Wicks, who uses his position of religious power to instil fear within his congregation. Johnson comments on the bleakness of the modern world with a lightness that is used narratively to create contrast with the film’s protagonists.

While the previous two films positioned Daniel Craig’s southern detective, Benoit Blanc, as the clear star, the spotlight here is stolen by the ever-charming and enigmatic Josh O’Connor, who portrays Father Jud, a priest new to this environment. Joining Craig and O’Connor is a cast of buzzy supporting roles, with standouts including Glenn Close and the aforementioned Josh Brolin.

Where the film slightly falters is in its band of suspects, who feel somewhat underused. The Knives Out franchise has made a hallmark of assembling an outrageous and contrasting ensemble to portray its suspects, but as Wake Up Dead Man adopts a more sombre tone than its predecessors, these roles feel more like a genre requirement than fully realised characters. Andrew Scott and Cailee Spaeny do the best with what they are given, though what they are given is limited. That said, the strength of O’Connor’s performance makes this easier to overlook.

Another aspect that proved extremely pleasing throughout is the cinematography. Steve Yedlin creates images that feel lived-in, using light in instrumental and thematic ways. Each shot feels nurtured, with deliberate light sources throughout. In a setting such as a church, rich with dramatic lighting possibilities, Yedlin uses them frequently but never without purpose. Light becomes ever-present, not merely to create striking visuals, but as a guiding force within the film’s ongoing conversation about faith.

While Johnson initially leads us to believe we are watching a contrived murder mystery filled with twists, what unfolds is more of a character study. At its heart, the film explores two men grappling with the power of faith and the forms it can take. When compared with the previous Knives Out entries, this instalment may have the weakest mystery, but it offers the most considered and reflective treatment of the themes Johnson is seeking to explore.

Overall, Wake Up Dead Man is a thoroughly enjoyable third outing for Benoit Blanc, even if the mystery itself is not the series’ most compelling. Johnson’s examination of organised religion and contemporary fears is thoughtfully developed through a personal lens and a charismatic cast.

For full cast and production details, see the Wake Up Dead Man page on IMDb, which lists the full ensemble, creative team and key credits.

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