Benoit Blanc is back, and he’s got a new mystery on his hands.
This time, a catholic priest has been accused of murdering his monsignor, an angry and bitter man with no shortage of enemies. Like the Blanc mystery movies that came before this one, everyone has a motive, but only one person committed the deed. This is a Rian Johnson movie though, so there’s more going on here than just straight murder for cash, or is there?
I made no secret of the fact I hated Glass Onion. I think it may be the worst movie Rian Johnson has ever made, and its ending is so nonsensical that it’s almost insulting to watch. You’ll be relieved to know I did not feel that way about Wake Up Dead Man. It’s a much stronger film, with more solid characters and a firm grasp on the story it’s trying to tell. It’s not without issues, but I’ll keep my thoughts spoiler-free, and you can ultimately decide for yourself.
I really loved the setting of this one. Upstate NY (fun fact: my hometown) is prime territory for a religious mystery/thriller with its weird mix of rural culture while still remaining city-adjacent, and makes for an environment where all kinds of people can be in the mix. The religious aspect hits the sweet spot of being respectful without being too preachy, and Josh O’Connor’s character is a pretty great representation of the kind of Christians you find in the wild and not on TV.
The performances, as you’d expect, are fantastic. O’Connor and Glenn Close are definitely the standouts, but everyone is really fun to watch. The characters are the quirky mix these films are now known for, but here they feel a bit more developed than the other two in the series. It’s a definite improvement, and I’d love to see even more time spent with the cast in his future films. It gives the audience a lot more buy-in and keeps you engaged through the plot’s twists and turns.
While I would say this one is my favorite of the trilogy, it’s not immune to Johnson’s main writing flaw: the inability to build and continue his story’s momentum. He comes the closest to doing this in Knives Out, and I think that’s why a lot of people’s favorite. The twists and turns that are common with a mystery story feel jarring here because the story misdirects us right into a brick wall. From there, Johnson has to start the momentum from zero, and it always takes a bit to get going again. It’s the reason, in my opinion, why his endings (though incredibly well-constructed) feel so weak and this film’s final act is no exception. While it mostly sticks the landing, it was rough getting here.
In my opinion, the weakness of the Knives Out series lies in Johnson’s refusal to drop any significant clues or easter eggs as to who the true villain is. He wants to wow us with a big reveal, but instead of building to one, he chooses small, inconsequential moments to recontextualize and rewrite history. It’s unsatisfying since it robs the audience of the ah-ha moment where everything clicks into place. It would be like if The Prestige ended with the closet containing a complex Rube-Goldberg machine. Interesting, but we never would have guessed it, and that’s the point.
Is the story good? I’d say it is, but it could be a lot better. Every red herring doesn’t need to be played out into a 20-minute conclusion, and I would really appreciate a build-up that makes this film a more entertaining rewatch. Knives Out is the most successful at this so far, and the two follow-ups are still reaching for that level of intrigue.
Have you seen Wake Up Dead Man and want to get into the spoilers? Well then, head over to our spoiler discussion thread for the movie to tell us how you really feel.