This review is based on an early screening at the 2025 Toronto International Film Festival. While ‘Wake Up Dead Man: A Knives Out Mystery’ will have a limited theatrical run starting November 26, most viewers will catch it on Netflix from December 12.
Following his venture into a galaxy far, far away, the acclaimed director Rian Johnson has dedicated the last eight years to crafting new, darkly intriguing cases for Daniel Craig’s eccentric detective, Benoit Blanc. While ‘Wake Up Dead Man: A Knives Out Mystery’ is a Netflix production receiving a limited theatrical release, its grand visuals suggest it would shine on the big screen. Intriguingly, this third installment marks a departure for the series by presenting a classic, no-frills murder mystery, a decision that ultimately proves to be its greatest strength.
The story kicks off not with Benoit Blanc, but through the eyes of Reverend Jud Duplencity, portrayed by Josh O’Connor. Jud is a young, somewhat struggling priest assigned to a secluded parish dominated by the formidable Monsignor Jefferson Wicks (Josh Brolin). Wicks maintains control over his small congregation through fiery sermons and manipulative tactics, which quickly earns Jud’s disdain. However, when Wicks dramatically collapses with a blade in his back after a service, the circumstances of the murder are baffling, despite Jud appearing to have the clearest motive. This sets the stage for Daniel Craig’s Benoit Blanc, who steps in to tackle what may be his most bewildering case to date.
As someone who generally admires Rian Johnson’s work but found the second film, Glass Onion, to be a slight disappointment, it’s reassuring to see him return to peak form with ‘Wake Up Dead Man.’ While it might not quite match the emotional depth of the original ‘Knives Out’—Josh O’Connor’s nuanced performance as Jud comes close but doesn’t quite reach the raw pathos of Ana de Armas’s Marta—this film undeniably delivers the strongest mystery of the franchise. The solution is far from obvious, and the intricate execution of the murder and subsequent events is genuinely clever. Even if a few plot points or lines of dialogue aren’t perfectly polished, Johnson’s directorial prowess shines throughout.
Daniel Craig continues to be utterly captivating as Benoit Blanc. However, a recurring issue from previous Blanc films resurfaces here: director Rian Johnson tends to pack his ensemble cast with talented actors, only to underutilize many of them. It’s a shame to see such capable performers with limited screen time.
Visually, the film is stunning. Johnson’s consistent collaboration with cinematographer Steve Yedlin always results in gorgeous cinematography, and ‘Wake Up Dead Man’ is no exception. While the marketing might hint at a strong ‘Gothic’ vibe, which appears only in a few striking scenes, the dominant earthy, green-brown color palette, combined with expert lighting and framing, creates an initial atmosphere that feels remarkably cozy. This warmth contrasts sharply with the later, darker narrative twists, making them feel like a violation of a sacred space—a powerful thematic parallel given the film’s premise of a small church community unraveling after their pastor’s death.
Indeed, while ‘Wake Up Dead Man’ excels in plot over its predecessor, it unfortunately carries forward the same character-related shortcomings. Daniel Craig, Josh O’Connor, and Josh Brolin deliver compelling performances, but once again, Johnson’s screenplay underutilizes a stellar supporting cast. Notable talents such as Kerry Washington, Andrew Scott, and Cailee Spaeny are present but are given so little material that they fail to make a lasting impact. This becomes particularly frustrating when every member of Wicks’ parish is introduced with a potential motive, yet most are left underdeveloped, leaving their characters feeling adrift without a clear purpose in the wider narrative.
Furthermore, Johnson hasn’t entirely shed some of his less favorable writing habits, occasionally weaving in playful nods to external elements like Star Wars, his Netflix deal, and direct discussions of classic mystery tropes, such as John Dickson Carr’s The Hollow Man. These moments often feel like the writer winking at the audience rather than organic character interactions, detracting slightly from the film’s authenticity. While not a deal-breaker, it’s a stylistic choice Johnson might consider tempering if the series is to continue. Nevertheless, delivering a genuine, gimmick-free murder mystery after ‘Knives Out’s’ clever genre subversion and ‘Glass Onion’s’ somewhat muddled plot was precisely what the franchise required.
Wake Up Dead Man might not claim the top spot among Benoit Blanc’s adventures, but it thoroughly satisfies by embracing traditional mystery expectations rather than attempting to subvert them. While devoted fans might appreciate the shift, those longing for a more conventional whodunnit—a style largely sidestepped by previous installments—will likely find themselves utterly delighted. The film’s primary drawback remains its undercooked supporting cast, an area Rian Johnson would do well to strengthen should he choose to continue this intriguing series.