By Sarah Osman

This well-done mystery supplies an insightful look at how money, politics, and religion have become intertwined—and where that may be taking us.

Wake Up Dead Man: A Knives Out Mystery, written and directed by Rian Johnson. Streaming on Netflix

Daniel Craig and Josh O’Connor in Wake Up Dead Man: A Knives Out Mystery. Photo: Netflix

When Knives Out came out a few years ago, my husband and I took my dad to see it. The film seemed to be a perfect fit for my dad’s taste: a murder mystery, sneaky rich people, a script inspired by Agatha Christie, and Daniel Craig, the second-best James Bond. As expected, my dad loved it. We missed the sequel to Knives Out, which was not as well-received. But the trio made it back for Wake Up Dead Man, the third film in the Knives Out-verse. My dad found this iteration sillier than Knives Out, but he only fell asleep once, and didn’t play with his phone when he was in the theater. That is the sign that he likes a film. Wake Up Dead Man isn’t just ideal for fathers (although the theater we attended was full of them). The whodunit is a clever, satirical take on the Catholic Church that feels fresh.

Wake Up Dead Man follows Reverend Jud Dupenticy (Josh O’Connor), who, after tossing a punch at a deacon who deserves it, is sent to a remote parish in upstate New York. He’s the assistant pastor to Monsignor Jefferson Wicks (Josh Brolin), who makes every confession with the new reverend incredibly awkward because Wicks insists on talking about his masturbation habits. Wicks rules his church with an iron fist; he delivers his sermons like a Puritan minister, guilting and shaming any new attendees. Reverend Jud is horrified by Wicks — he prefers to preach love (you know, as Jesus commanded) rather than anger.

To make matters even more complicated, Wicks has a group of devoted followers. There’s Martha (Glenn Close), the church’s secretary and the guy’s most loyal servant. Samson (Thomas Haden Church) is the church’s caretaker and Martha’s loving boyfriend. Dr. Nat (Jeremy Renner) lost his wife to a Phish message board; now, he only has his bar and his church to keep him going. Lee (Andrew Scott) is a former bestselling sci-fi novelist now working on a book about Wicks. Simone (Cailee Spaeny) is a former cellist who is struggling with chronic pain — she hopes Wicks will be able to heal her. And there’s Vera (Kerry Washington), whose father was dedicated to Wicks, and her horrid half-brother Cy (Daryl McCormack), who films everything on social media that he thinks will boost his political career.

Wicks turns up dead in the strangest way — a mystery’s afoot. That’s when Detective Benoit Blanc (Daniel Craig) turns up to help figure out who the real killer is. Craig and O’Connor make for a delightful comedic pair as they unravel various enigmas and hunt down clues. And it’s not just Wicks’ murder that they’re trying to solve — there’s also the matter of the disappearance of the church’s jewel of a fortune.

It’s a shame that most people will view Wake Up Dead Man on the small screen. The cinematography here is impressive. If there was ever an argument for Netflix to run their films in theaters, this is it. Sweeping shots of forests are interwoven with eerie lighting to create a marvelously spooky atmosphere. There have been recent complaints from critics and others that the movies on streaming services are blandly lit, but Wake Up Dead Man is lit up to a T, particularly via a deft use of the church’s stained-glass windows.

The strong cast clearly had a ball with this script, hamming it up when necessary, dialing it back when called to show vulnerability. While the mystery itself (and its conclusion) are patently ridiculous, the characters’ motives make social/ideological sense. Wake Up Dead Man explores a number of contemporary plagues, including how the patriarchy and good ol’ fashioned sexism impact women; the role of social media in politics; and how those with more nefarious goals can manipulate the true message of the gospel. Wake Up Dead Man is more than just a standard, if well done, whodunit. It supplies an insightful look at how money, politics, and religion have become intertwined — and where that may be taking us.

Sarah Mina Osman is based in Los Angeles. In addition to The Arts Fuse, her writing can be found in The Huffington Post, Success Magazine, Matador Network, HelloGiggles, Business Insider, and WatchMojo. She has an MFA in Creative Writing from the University of North Carolina Wilmington and is working on her first novel. She has a deep appreciation for sloths and tacos. You can keep up with her on Instagram @SarahMinaOsman and at Bluesky @sarahminaosman.bsky.social.