Wake Up Dead Man: A Knives Out Mystery 2025 Review

Wake Up Dead Man is the third entry in the Knives Out series and continues the franchise’s tradition of clever whodunits with just enough genre subversion to keep things feeling fresh. While it doesn’t quite reach the highs of the original Knives Out, it still offers a solid, entertaining mystery with strong performances and a unique atmosphere that sets it apart.

Daniel Craig once again returns as the brilliant and quirky Benoit Blanc, and at this point he wears the character like a custom suit. His performance is confident and understated, with a touch more weariness and reflection this time around. Blanc seems older, slightly more jaded, and yet still drawn into the puzzle with that same obsession for truth. This instalment leans more into heavy themes, which gives Craig more dramatic material to play with and he handles it beautifully.

The new ensemble cast is stacked with talent and every actor delivers exactly what you’d expect from their name. Josh Brolin brings intensity and gravitas. Glenn Close balances elegance and steeliness with ease. Mila Kunis adds a grounded, emotional edge, while Jeremy Renner surprises with a measured and subdued performance. Andrew Scott, always captivating, leans into his character’s ambiguity and keeps the audience guessing. But the true standout here is Josh O’Connor. He’s been on a roll these past couple of years and this performance cements him as a major name to watch. O’Connor manages to balance vulnerability and danger in a way that feels magnetic. He commands every scene he’s in, often stealing the spotlight from more seasoned stars.

What sets this third film apart is its pacing. It unfolds more slowly and deliberately than its predecessors. The previous Knives Out entries had a tighter, punchier rhythm, bouncing from clue to clue with almost surgical precision. Wake Up Dead Man takes its time. That might frustrate some fans who expect rapid twists and snappy momentum, but the slower pace works in this case because the story itself is heavier and more brooding. It gives room for atmosphere to build and for the characters’ internal worlds to breathe. There’s a sense of creeping dread that settles in early and never quite lets go.

The cinematography is worth talking about. It doesn’t look like most modern studio films and that’s a good thing. The lighting, framing, and shot composition feel more considered and deliberate. It’s not just coverage for the sake of coverage. The director of photography actually seems to care how the film will be remembered visually, which is a rare and welcome detail in today’s glossy, overly color-graded landscape. Some shots are staged with painterly care, while others are oddly intimate and unsettling. It’s clear the team behind the camera was aiming for something more lasting.

Tonally, the film leans into drama much more than comedy. There are still moments of humor, but they’re more subdued and less showy. Where Glass Onion played with satire and big personalities, this one is quieter, colder, and far more reflective. The story is layered with religious themes, which might not be everyone’s cup of tea, but they’re explored thoughtfully rather than pushed with heavy hands. Faith, guilt, justice, and morality hang over the story like a stormcloud. The title isn’t just clever, it sets the tone for what’s to come. This film isn’t just about a murder. It’s about redemption, power, and the question of who gets to tell the truth in a world where truth is increasingly fractured.

The actual mystery at the heart of the film is as tricky as ever. If there’s one thing Rian Johnson continues to do well, it’s planting red herrings and throwing the audience off the scent. This murder is nearly impossible to untangle, and when the final pieces fall into place, it’s satisfyingly wild. In fact, it might be the most outrageous ending of the three films so far. Whether you find that thrilling or too far-fetched will depend on how much you're willing to let go and enjoy the ride. Personally, I loved it. The conclusion leans into the theatrical and strange, which feels fitting for a franchise that’s never been afraid to embrace its eccentricities.

That said, the film is not without its flaws. The slower pacing, while effective in places, does result in a bit of drag in the second act. There are stretches where the story meanders a bit and the tension dips. A few characters, while well-acted, feel like they could have been better developed. There are hints at deeper relationships and motives that don’t always get the time they deserve. And while the religious themes add weight, they occasionally come off a little on the nose, especially in some of the dialogue. Still, none of this breaks the film. If anything, these imperfections make it feel more grounded in its ambition.

What makes Wake Up Dead Man work, above all else, is that it still feels like a Knives Out mystery at its core. The DNA of the franchise remains intact. It’s about unravelling the layers of human nature, exposing greed, fear, love, and the lengths people will go to protect themselves or someone else. Benoit Blanc is our guide through it all, and watching him pull apart the threads of the case is as satisfying as ever. There is also something deeply enjoyable about the structure of these films. The slow reveal, the shifting perspectives, the subtle clues that reward rewatching. Johnson still knows how to construct a mystery that doesn’t insult the audience’s intelligence.

The ending is certainly going to be divisive. Some will love it for how bold it is, others will find it a bit too far removed from reality. But what’s important is that it feels earned. The setup supports the payoff. The clues are there if you’re looking, and when the curtain is pulled back, it makes sense, even if it’s crazy. That’s a fine line to walk in a mystery like this, and Wake Up Dead Man manages it.

In the end, this is a solid entry in the series. It’s not the best of the three, but it doesn’t need to be. It tries something different. It slows down. It gets more introspective. It pushes the boundaries of what a modern murder mystery can be without losing the fun. The cast is fantastic, the cinematography is striking, the writing is sharp, and the conclusion leaves you thinking long after the credits roll. I give Wake Up Dead Man a strong 7 out of 10. It’s smart, layered, and worth seeing, especially if you’ve been following Blanc’s journey from the beginning.