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Wake Up Dead Man: A Knives Out Mystery review – Josh O’Connor excels in another deadpan delight
Daniel Craig is joined by a sparkling array of talent including OâConnor, Glenn Close and Josh Brolin in this latest murder mystery with a religious undercurrent
Rian Johnsonâs delectable new Knives Out film is a chocolate box: mouthwateringly delicious on the first layer and ⦠well, perfectly tasty on the second. Daniel Craig returns as private detective Benoit Blanc, in a slightly more serious mode than before, with not as many droll suthân phrases and quirky faux-naif mannerisms, but rocking a longer hairstyle and handsomely tailored three-piece suit.
Blanc arrives at a Catholic church in upstate New York to investigate the sensational murder of its presiding priest, Monsignor Jefferson Wicks, a ferocious clerical alpha male played by Josh Brolin, thundering his reactionary views from the pulpit. (That âMonsignorâ title can only be bestowed by the pope incidentally: presumably Benedict XVI or John Paul II, not milksop liberals like Francis or Leo XIV.) And prime suspect is the sweet-natured, thoughtful junior priest Father Jud Duplenticy, amusingly played by Josh OâConnor, who was upset by the Monsignorâs heartless attitudes and was caught on video threatening to cut him out of the church like a cancer. Atheist Blanc faces off with the young priest, a worldview culture-clash which leads to an extraordinary encounter with the Resurrection itself.
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Wake Up Dead Man review: Benoit Blanc's third Knives Out mystery is engrossing, and very funny
Agatha Christie wrote dozens of Hercule Poirot mysteries. Sir Arthur Conan Doyle wrote over 60 Sherlock Holmes adventures. Rian Johnson, meanwhile, is on only his third Benoit Blanc whodunnit. But give it time. On the strength of Wake Up Dead Man, it feels like he and Daniel Craig’s Blanc could be solving murders for years to come.
Completing an unofficial trilogy, the filmmaker and star have pulled off one of the most consistent and rewarding cinematic triptychs in recent memory, each entry arriving at a singular mood, while maintaining, at its centre, its loquacious recurring hero, the “mere passive obser-vuh of the truth”.
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