Review: Wake Up Dead Man

[The following review contains MINOR SPOILERS; YOU HABE BEEN WARNED!]

Knives Out was intended to be Rian Johnson’s definitive thesis on the traditional whodunnit—a thorough dissection of the various tropes, conventions, and archetypes traditionally associated with the style of locked room mystery codified by such authors as Agatha Christie. It is therefore only appropriate that it immediately leaps into the action, opening with the discovery of a corpse and retroactively providing relevant context via multiple flashbacks. This economy of detail is a function of the postmodernist commentary that propels the narrative; because the film is, to a degree, self-reflexive, its structure has to be lean and efficient—every moment must be essential.

The latest installment in the Benoit Blanc series, Wake Up Dead Man, unfolds at a comparatively casual and leisurely pace; because it is not primarily a genre deconstruction, it can afford to be patient, revealing its premise gradually and methodically. It begins not with the inciting incident, but rather with an extended sequence of expository voiceover narration delivered by protagonist Rev. Jud Duplenticy, establishing his internal conflicts and his convoluted web of interpersonal relationships with both the eventual murder victim and the colorful ensemble of suspects du jour. The crime around which the plot revolves doesn’t even occur until approximately forty-five minutes to an hour into the movie. This is, of course, extremely purposeful. While the obligatory clues, red herrings, and shocking twists remain plentiful, the sleuthing is of secondary concern this time; Johnson instead emphasizes characterization and theme, exploring subject matter that is significantly more profound, universal, and human than simple pastiche.

I won’t argue that this shift in direction makes Wake Up Dead Man “better” than Knives Out, necessarily—I’m still digesting its subtleties and intricacies—but it certainly speaks to its dramatically different ambitions and storytelling priorities. And I find it quite impressive that the qualities that set it apart from its predecessor—its distinctive tone, texture, and flavor—are so elegantly expressed right there in the introductory scene.