Rian Johnson thrives on immersing himself in the unique textures of quirky genres. Whether tackling teen noir with Brick, globe-trotting cons in The Brothers Bloom, or delving into both original and legacy sci-fi with Looper and Star Wars: The Last Jedi, Johnson has a knack for transforming familiar narratives into something uniquely his own. This talent is evident in his Knives Out series, where he crafts episodic adventures for his sharp-witted, Southern detective Benoit Blanc (Daniel Craig). Each film, whether set in a New England mansion during the fall, a sunny Grecian island in summer, or a gothic small-town church, perfectly suits his creative vision.
The evolution of the Knives Out trilogy reflects the genre shifts that renowned mystery writers used to add an exotic touch to their stories. However, Johnson’s approach, while charming, doesn’t quite reach the heights of an Agatha Christie mystery. Wake Up Dead Man, the third film, stumbles into similar pitfalls that made the original Knives Out lean more towards comedy than mystery, and Glass Onion feel like an indulgent follow-up. This latest installment slightly reduces the overt political references, focusing more on crafting a substantial mystery for Blanc, but it struggles under too much narrative weight, failing to fully succeed as either a darker personal tale or the light-hearted romp expected from the franchise.
Johnson’s boldness is admirable, though his direction sometimes misses the mark. The film takes its time introducing Blanc, instead spending the first thirty minutes of its lengthy 144-minute runtime with Reverend Jud Duplenticy (Josh O’Connor), a troubled priest with a dark past, sent to Chimney Rock, New York to aid the provocative Monsignor Jefferson Wicks (Josh Brolin) at their quaint church. As Jud observes Wicks’ growing influence over his followers, a mysterious death brings Blanc into the fray to solve the crime and possibly exonerate Jud.
The narrative of Wicks as a divisive figure who challenges societal norms mirrors the past decade of American political turmoil. Wicks’ fear-driven rhetoric about feminists and marxists threatening traditional values attempts to critique religious and political extremism. However, Johnson’s overt Trump comparison may limit the story’s broader implications, overshadowing the clash between Blanc’s logical deductions and the seemingly supernatural elements of the case.
The film’s extended cast often feels like caricatures born from a social media scroll. Andrew Scott’s radical sci-fi author and Daryl McCormack’s disillusioned politician deliver dialogue teeming with polarizing jargon, which, while possibly intended as satire, comes off as heavy-handed. As usual, Knives Out seems to play out like a game of Clue with a constant eye on Twitter.
Despite Daniel Craig’s engaging performance as Blanc, much of the cast is underutilized. Josh O’Connor, who shares significant screen time with Craig, emerges as a co-lead, creating a compelling dynamic as they investigate the town. However, other talented actors like Jeremy Renner, Kerry Washington, and Glenn Close are relegated to the background, only becoming relevant when the plot demands it. This lack of engagement with the central mystery is a notable weakness of Wake Up Dead Man.
Johnson has described this film as a return to the roots of Edgar Allen Poe-style mysteries, contrasting with Glass Onion‘s more postmodern approach. The production design by Rick Heinrichs successfully creates an eerie atmosphere that enhances the film’s few standout moments. Johnson’s homage to classic mystery narratives, including a nod to John Dickson Carr’s The Hollow Man, adds a traditional touch to the otherwise modern series.
Unfortunately, the climax of Wake Up Dead Man fails to deliver a satisfying resolution, making the journey through its convoluted story feel more tiresome than entertaining. Despite Johnson’s deep understanding of the genre, the film struggles to maintain engagement, leaving viewers disenchanted by its conclusion.
Director: Rian Johnson
Writer: Rian Johnson
Stars: Daniel Craig, Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Thomas Haden Church
Release date: Sept. 6, 2025 (TIFF), Dec. 12, 2025 (Netflix)
Trace Sauveur is a writer based in Austin, TX, where he primarily contributes to The Austin Chronicle. He loves David Lynch, John Carpenter, the Fast & Furious movies, and all the same bands he listened to in high school. He is @tracesauveur on Twitter where you can allow his thoughts to contaminate your feed.