Agatha Christie was given the moniker the “Queen of Crime,” and with his third Benoit Blanc film, Wake Up Dead Man: A Knives Out Mystery, Rian Johnson can be crowned the Cinematic King of Crime. Johnson constructs an air-tight mystery infused with intrigue, humor, and profound commentary on spirituality. As a director, he brings together a skilled group of actors and artisans to expand Benoit Blanc’s world while remaining a standalone story. 

There’s a deep satisfaction when a jigsaw puzzle comes together. You get into a groove as the pieces start to connect, whole sections are put together, and eventually, that 1000 piece image is complete. If it’s a good puzzle that challenged you along the way, it’s incredibly gratifying to see the full picture at the end. The same can be said about a great murder mystery. A well-constructed whodunit gradually connects the pieces together. At the end when the culprit is revealed, it’s rewarding to get to the end, especially when you feel like you caught on just enough to not get lost but surprised as the detective explains the how and why of it all. There’s no proof that Johnson is fan of jigsaw puzzles specifically, but based on the three Knives Out movies, it’s clear that he is indeed a puzzlemaster. 

Wake Up Dead Man is a fascinating new puzzle for Daniel Craig’s Benoit Blanc (and the audience) to sink his teeth into. Blanc is recruited by local police to solve a murder surrounding a charismatic priest and his circle of dedicated congregants. When a seemingly divine intervention occurs, Blanc must uncover the mystery behind the miracle. Unlike Knives Out and Glass Onion, Wake Up Dead Man follows a more traditional mystery structure. There are definitely twists and reveals along the way, but not in the same plot-twisty style as the previous whodunits, like the secret twins of Glass Onion. Like a great jigsaw puzzle, Wake Up Dead Man is well-paced, keeping its groove as more clues and details are pieced together that leads to a gratifying conclusion.

Aesthetically, Wake Up Dead Man marks a return to its Northeastern Knives Out roots. Set in a village in upstate New York, the film features a more gothic look, thanks in large part to the small parish where most of the mystery unfolds. Production designer Rick Heinrichs reteams with Johnson after working together on Glass Onion to bring this vision to life, especially seen in the gothic architecture of the sanctuary. Costume designer Jenny Eagan trades out Blanc’s nautical Cary Grant look for a dapper new suit (pocket square included!). Johnson’s brother, Nathan Johnson, delivers another classic mystery score that brings the energy and thrills while following Wake Up Dead Man’s twists and turns. Longtime collaborator Steve Yedlin is back at the director of photography; and once again, he’s one of the great cinematographers who can successfully replicate the look of film digitally. Not just gate weave and halation, but even the blocking and framing of scenes is precise, almost too perfect at times (complimentary).

The Academy’s latest new category, Achievement in Casting, couldn’t have come at a better time. Whodunits, like Murder on the Orient Express and The Last of Sheila, excel because of their ensembles. Knives Out and Glass Onion were lauded for their casts, and Wake Up Dead Man is no exception. Bret Howe and Mary Vernieu pulled an Avengers-level casting feat with the third Benoit Blanc movie, which does include two MCU actors and two hot priests. Kerry Washington, Daryl McCormack, and Jeremy Renner were excellent in the roles the played in the latest Johnson whodunit. Josh Brolin — who’s having quite the year between this, Weapons, and The Running Man — oozes charisma and menace as Monsignor Wicks, the intimidating priest who shepherds his flock with a cult of personality. Not everyone will get equal screentime and depth, and unfortunately, the three that could’ve used more attention were Cailee Spaeny’s Simone, Andrew Scott’s Lee Ross, and Thomas Hayden Church’s Samson. Surprisingly, Mila Kunis held her own as the local police chief, Geraldine, as she worked with the renowned sleuth. 

In a sea of great fictional detectives, Craig has made Blanc standout with his Southern drawl, impeccable fashion, and unique mannerisms. With a lesser actor, Benoit Blanc wouldn’t have made it past the first Knives Out. By the time we reunite with him in Wake Up Dead Man, Craig has reached a comfortability to the role that he can play around with Blanc as he’s challenged with a new mystery that comes with some past hurt (more on that later). As great as Craig was as the recent iteration of James Bond, Benoit Blanc will go down as one of Craig’s most recognizable and best roles. 

Every Benoit Blanc film has its own standout from its all-star ensemble. In Knives Out, it was Ana de Armas’ Marta Cabrera and Chris Evans’ Ransom Drysdale. In Glass Onion, it was Janelle Monáe’s dual performance as Andi and Helen Brand. For Wake Up Dead Man, two share this honor: Glenn Close’s Martha Delacroix and Josh O’Connor as Rev. Jud Duplenticy. 

The eight-time Oscar nominee Glenn Close is exceptional in the latest Johnson whodunit. As Wicks’ right-hand, Martha is loyal, perceptive, and at times, intense. She’s extremely judgmental of those who don’t fall into line with Wicks, bringing a harsh sharpness to her dialogue. Seemingly appearing out of nowhere, Martha pops into frame and the energy changes the scene entirely. Her screams are haunting. There’s not a wasted delivery nor facial expression that doesn’t speak volumes about Martha, and that’s because of the skill and expertise demonstrated by Close. If there are any holes of weakness in the Supporting Actress category, Close can easily slot herself in the lineup and it would be deserved.

The beating heart of Wake Up Dead Man is Josh O’Connor as Rev. Jud Duplenticy. Appearing practically in almost every scene of the movie, O’Connor is the gravity that holds this whodunit together. After disciplinary action, an eager Jud arrives to Monsignor Wicks’ parish with hopes to serve and help this community. Prior to his time with the church, Jud had a rough past that still rears its ugly head when pressed beyond the limits of his frustration. Jud isn’t the perfect man of God (he’s not immune to swearing while donning his robes) but he is the right person for this community at this moment in time. O’Connor brings both a ferocity and a steady gentleness to Jud, who displays strength through daily acts of faith and mercy over fiery orations from the pulpit. Plus, O’Connor has great comedic timing in his delivery and mannerisms, although not quite firing at the same cheeky level as his other priestly role in Emma.. 

The skeptic and the believer are a common duo found in the mystery/crime genre, and the pairing of Jud and Blanc exhibit this trope well. Jud’s smart, caring natures balances Blanc’s meticulous wit. O’Connor and Craig have excellent rapport together, and one can only hope the two link up in another future project. 

Wake Up Dead Man centers on a small, devout Catholic community, and due to this, faith and spirituality are integral to the DNA of this film. Johnson tapped into his own history with Christianity that bring an authenticity to his latest mystery. Not just the setting of this mystery, but his characters reflect a journey of deconstruction and, perhaps, a fight to reclaim the root of what being a Christian meant to him. 

Speaking at a Q&A hosted by Collider, Johnson shared that he grew up as a practicing Protestant, an Evangelical Christian. It was a part of his life and identity until his 20s when he eventually stepped away. Whether he is an atheist or has renounced Christ and the church is not known. But even without that context, it’s clear in the plot and the characters that Johnson had some type of background with religion.

For example, look at Glenn Close’s character. Names matter, and it’s no coincidence that her name and demeanor resembles Martha, the sister who chastised her sister, Mary, for sitting at the feet of Jesus while she was busy on the preparations that needed to be made for his visit. Close’s Martha is dutifully loyal to Monsignor Wicks as his right-hand, keeping track of paperwork and the finances of the church. She has a self-righteous attitude and is extremely judgemental, especially towards a woman named Grace who needed to be shown grace in her time of need. 

Christianity in the Western world, particularly in America, stands at a unique moment in time. Many of the faith are caught between the ideological extremes of Christian nationalism, that warps patriotism into political idolatry and a pursuit of power, and the progressive movement. This divide, as well as a sobering look at the Church’s history of mistreatment, has led many Evangelicals to step away from faith entirely through deconstruction and the exvangelical movement. In its place, many have replaced their faith for politics as their religion.

In recent years, Hollywood’s view of Christianity has looked more like Josh Brolin’s Wicks that skews towards the unholy union of religion and politics, as seen in both Wicks and Daryl McCormack’s Cy Draven. Going viral from the pulpit appears more valuable than preaching from Scripture. Wicks exhibits the alpha, antagonistic persona who cares about the “cause” more than the people he leads. Unfortunately, the Juds of the faith are often overshadowed by the Wicks of the world. 

Something not seen as often in Christian portrayals of media is the concept of church hurt, which is basically the emotional, spiritual, or even physical pain caused from negative experiences within a church or ministry. Through Benoit Blanc, Johnson explore the long-term effects of it. When he first steps into the sanctuary and meets Jud, Blanc exhibits discomfort being there. He briefly mentions to Jud that he used to attend services with his mother growing up, but it became complicated. Knowing that Blanc is gay after meeting his husband, Hugh Grant, in Glass Onion, audiences can connect the dots as to why organized religion is a touchy subject for him. Blanc walks into this new mystery with church hurt, and it seems like Johnson does, too.

For a writer-director who walked away from his Protestant faith, Johnson could’ve had a field day with deconstructing religion and attacking Chrisitanity as a whole in Wake Up Dead Man. Instead, he does something different. Instead of punching down, Johnson wrestles with spirituality, and Jud is the primary vehicle for that type of reflection. It doesn’t seem like a coincidence that Jud was a boxer prior to his commitment to Catholicism. It’s a battle for Johnson to engage with this subject matter, and it’s an ongoing fight for Jud to remain faithful to his calling.

Jud’s story of salvation involved a rough past in the boxing ring that lead him to the foot of the cross, and he has since dedicated his life to serving those around him with love and compassion. When arrives to his new assignment under Monsignor Wicks, Jud takes the time to build relationships with the dedicated regulars, not from an exploitative, controlling place, but rather, a genuine place of empathy. He is drastically different from his radical, charismatic senior priest, who is more concerned with the spiritual culture war and hazing Jud through confession than the welfare of his congregants. For as much as Wicks worries about Jud being “weak” for his methods, kindness and gentleness are fruits of the Spirit, something he has forgotten about entirely. 

Arguably the most profound scene of the film comes during the second act. Jud is on the phone with a woman named Louise, played by Bridget Everett, trying to get information that’s valuable for Blanc and the case. It begins in comedic fashion as Louise talks over an increasingly frustrated, tired Jud with unimportant side comments before revealing she doesn’t have the information they need at the moment. It appears as though that’s the end, but then the conversation takes a serious turn. At the height of Jud’s exhaustion as he’s ready to end the phone call, Louise asks if he could pray for her. Jud could’ve easily dismissed her due to the severity of the case; he could’ve promised to pray for her at a later time. Instead, he stops everything to meet her request. As she tearily explains that her mother is in hospice, Jud’s fatigue melts away. He leaves the room he’s in with Blanc and spends hours on the phone with Louise learning more about her and her mother before eventually praying for them.

There is nothing for Jud to personally gain from this encounter. There is no audience nor accolades. He demonstrates Christ’s sacrificial love and compassion to a stranger on the phone by listening to her and meeting her in her time of need. This quiet interaction speaks volumes, an act of protest to the type of behavior found in leaders like Wicks. If there’s a picture for what it means to reflect Christ’s character, this is it. 

Wake Up Dead Man seems to be Johnson’s most personal film to date. He mined his own past to tackle these themes with nuance and depth. For as faithful as he created Jud to be, Johnson ends the movie without coming to his own concrete conclusions about what faith means to him today. Blanc, too, walks away from this case still wary of church, unable to sit in for a service. It’s refreshing to leave space for Blanc and the audience to meditate on those themes after being along for the ride of a highly entertaining mystery. Johnson delivers another stellar whodunit that features remarkable talent both in front and behind the camera. Although fans are itching for him to make another original film, Wake Up Dead Man is proof that Johnson continues to thrive in this subgenre and his partnership with Daniel Craig is the gift that keeps on giving.

Grade: A-

Oscars Prospects:
Likely: Best Adapted Screenplay and Achievement in Casting
Should be Considered: Best Adapted Screenplay, Best Production Design, Best Original Score, Best Costume Design, Achievement in Casting, Best Supporting Actress (Glenn Close), Best Supporting Actor (Josh O’Connor)

Where to Watch: In Theaters on November 26th and Streaming on Netflix on December 12th