Released in late November, Rian Johnson’s Wake Up Dead Man (2025) is quite possibly the best film in the Knives Out franchise. With outstanding performances, a satisfyingly complex plot and stunning cinematography, the third installment is bound to captivate audiences from start to finish. The film follows the familiar Knives Out formula, introducing audiences to a suspicious, yet likeable ensemble of characters – each hiding their own secrets. As Detective Benoit Blanc (Daniel Craig) works to solve a murder, the stakes are raised for the number one suspect, unassuming priest, Father Jud (Josh O’ Conner).
We are introduced to Father Jud, a troubled priest recently reassigned to the cult-like church known as Our Lady of Perpetual Fortitude, led by the eccentric pastor, Monsignor Jefferson (Josh Brolin). When an unexplainable murder shakes the congregation, Father Jud becomes the main suspect, and he is forced to work with detective Benoit Blanc to solve the case and clear his name.
Much of the film’s strength lies in its performances. Craig’s theatrical performance as Benoit Blanc remains a fan favourite. His exaggerated Southern drawl is a highlight, now instantly recognizable to audiences. Brolin as Monsignor Wicks is another standout performance. Brolin is able to channel the eccentricities of Wicks while grounding them with an emotional core. Glenn Close delivers a strong performance as Martha, conveying the character’s immense emotional depth and internal conflict that define her as a character.
However, the casting choice of Mila Kunis as police chief Geraldine Scott felt a little out of place within the ensemble. In scenes shared with the film’s leads, her delivery often feels more suited to a sitcom. In a film defined by heightened performances from actors like Daniel Craig and Glenn Close, Kunis’sscenes affect the cohesion and can pull audiences out of the story.
While the original Knives Out (2019) features cozy, earthy tones and Glass Onion (2022) showcases vibrant blues alongside bright whites and yellows inspired by its Greek island setting, Wake Up Dead Man features a much darker and more somber, almost gothic, colouring.
The cinematography in the previous Knives Out movies has been consistently striking, but this installment feels more refined. Every scene that takes place in the church uses lighting, composition and shadow to create visuals that are pleasing and immersive.
The film’s limited theatrical release of around two weeks before debuting on Netflix feels less like a creative decision, and more like a calculated effort to prioritize streaming appeal over cinematic experience.
Despite this, the film is a strong continuation of the Knives Out Franchise, unfolding with restraint and intention as the mystery builds towards a deliberate crescendo. A must-see for murder mystery fans, Wake Up Dead Man solidifies itself as another Rian Johnson success.
Contributed Photo/Wake Up Dead Man Poster
