"Wake Up Dead Man:" Rian Johnson’s Ode to Classic Mysteries is an Atmospheric Blast

[the following review is spoiler-free]

Introducing the newest installment in his wildly successful Knives Out franchise at its TIFF world premiere, director/writer Rian Johnson made specific reference to the past. He named his influences as figures like Arthur Conan Doyle, Edgar Allan Poe, and G.K Chesterton, mystery writers whose works lean heavily into the gothic and macabre. Johnson was beaming as he signalled a stark departure from the lighthearted romp of the previous two installments, promising a new, grim edge to this Benoit Blanc outing. Suffice to say, Johnson delivers on his promise. Wake Up Dead Man is dripping with style as it delivers yet another reliable murder mystery, this time demonstrating not only a stylistic evolution, but a distinct emotional maturity as well.

Despite an updated style and new palette of influences, the skeleton of Dead Man is the same one that’s been around since the first film, and it shows no signs of wear. With 3 Knives Out films under his belt, Johnson has quickly established all the essential ingredients of his perfect mystery. His kooky ensemble of stars, the way the paranoia builds, the predictably unpredictable twists – all of it has been boiled down to rigid fundamentals. But Johnson doesn’t rest on his laurels, he rearranges his puzzle pieces to create something consistently refreshing. With Dead Man, Johnson mutes some aspects of his framework and amplifies others. The ensemble is less prevalent than before, but that leads to stronger characterization. The outright comedy is also noticeably more muted, but its absence greatly aids the thick gothic aesthetic. Some kinks from the original still need some work for me, namely the occasional awkward intrusion of modern pop culture that feels dated on arrival, but watching Johnson tinker with the malleable form of Knives Out is an absolute treat.

Stylistically, Johnson spares no expense. Knives Out is always a shoe-in for great production design and costumes, and Dead Man sets a new bar. The main church set is an intricate behemoth. Neo-gothic spires arch into the dark sky and crooked gravestones poke from the soil like the church’s own fingertips clawing through the earth. It’s not riddled with secret pathways or trapdoors, but the deep attention to detail breathes its own type of enigmatic life to the structure. The sprawling grounds of the church are constantly besieged by ominous clouds blotting out the sun and raging thunderstorms that threaten to uproot the immense forest around the chapel. It’s an atmospheric treat, gleefully giving in to every macabre and gothic impulse that it can. Most importantly, it takes its aesthetic seriously, acknowledging the danger and the drama of its world instead of poking a sardonic finger at the hokeyness of it all. It’s happy to bear the mantle of a true gothic murder mystery and it asks you to leave your hangups at the door. But it still has a hell of a lot of fun.

Dead Man’s commitment to its stylistic influences allows it to run wild in its created space. It derives a whole lot of humor from inside its world instead of outside of it. In a landscape of comedy films that refuse to take themselves seriously, Johnson’s reverence is a breath of fresh air. His pure excitement with the source material is infectious, and helped in part by another brilliant ensemble cast – especially another fantastic Benoit Blanc performance by Daniel Craig –  it's easy for the viewer to get sucked into its delightfully dark world.

One of Dead Man’s strongest elements is its heart, which it chooses to place most of its chips on. The Knives Out franchise is no stranger to mushy sentiment, and Dead Man manages to integrate that soul into its narrative in a way that’s effective and organic. The question of faith found at the centre of Dead Man’s mystery naturally influences the characters and their decisions, particularly the conflicted but honorable priest Jud played by one of Hollywood’s most exciting up-and-comers Josh O’Connor. Faith is tested and expanded beyond mere spirituality, and often these tussles with faith become even more engaging than the mystery. Dead Man really plays with this idea in a way that isn’t smug nor concrete, demonstrating a significant shift in pathos that truly showcases Johnson’s evolved writing.

But of course there is the mystery. And it is every bit as devilishly gruesome and intricately twisty as one would expect from a Knives Out film, and that’s all I have to say about that.

Rian Johnson and company have delivered the ultimate gothic murder mystery package just in time for the coming Autumn season. Three installments in, and the Knives Out series continues to provide endless thrills, great comedy, and a genuine heart that has completely revived the murder mystery genre from the dead.

Wake Up Dead Man is a perfect event film, capitalizing on unparalleled star power and a vast but particular set of influences to craft an experience tailor-made for a large audience. It’s a magic feeling to get swept up in a mystery – to clench your fists and lean forward in the theatre and to turn around and see hundreds of faceless shadows do the same. If Rian Johnson can sustain the path that he’s currently on, and I have the utmost confidence in his ability, the Knives Out films may become one of modern cinema’s most beloved franchises. I also can’t help but mention that if you ever read this Mr. Johnson, I’m hoping to see a Raymond Chandler style mystery down the line, think about it.