Benoit Blanc returns for his most dangerous case yet.
Chuck says:
One of the aspects in Rian Johnson’s “Knives Out” mysteries that elevates them above other films of that ilk is the social commentary he manages to weave into them. The first entry was a sharp examination of class in the America, xenophobia, and the predatory attitudes the haves display towards the have-nots. “Glass Onion” was a broadside against one-percenters, the tech industry and right-wing extremists that utilize social media to manipulate the masses and fill their pockets.
The third entry, and in some ways the best, “Wake up Deadman,” examines the abuse of power, the hypocritic nature of those with influence, religion, and the easily led masses, so desperate to be heard they would willingly follow any despot over a cliff. As usual, Johnson doesn’t harp on these issues so much as use them to prop up his latest whodunit. And while we may be distracted by his plot twists and dynamic characters, his social messaging still comes through.
The setting this time out is a small New England church, its congregation overseen by Monsignor Wicks (Josh Brolin), a man-of-the-cloth who adheres to a fire and brimstone approach in addressing his shrinking congregation. Father Jud Duplenticy (Josh O’Connor) has been assigned to the parish and from the start, the two priests do not see eye to eye. So, when Wicks winds up dead, the newcomer is Chief Geraldine Scott’s (Mila Kunis) prime suspect.
Of course, it wouldn’t be a “Knives Out” mystery if there wasn’t a roster of other would-be-killers, their dynamic qualities brought to life by a stellar cast. Martha Delacroix (Glenn Close) is Wicks’ most faithful follower while her husband, Samson Holt (Thomas Haden Church) is the church’s groundskeeper. Dr. Nat Sharp (Jeremy Renner) is a successful surgeon but has been reeling since his wife left him, while best-selling author Lee Ross (Andrew Scott) is desperate to rekindle the success that has recently alluded him. Vera and Cy Draven (Kerry Washington and Daryl McCormick) are siblings, she an attorney, he a wannabe politician, each harboring a vital secret. Finally, Simone Vivane (Cailee Spaeny) is a concert cellist battling a debilitating disease who’s put her salvation, and a great deal of money, in Wicks’ hands.
As for Johnson’s consummate detective Benoit Blanc (Daniel Craig), he doesn’t make his first appearance until the movie’s second act. While I admired the reasoning behind this, the character is the straw that stirs these drinks and what with Craig’s delightful characterization, he and his Foghorn Leghorn inspired southern drawl are sorely missed when not on screen.
Still, there’s plenty to keep us occupied when he’s not around. It becomes apparent Wicks’ flock is intimidated by him, each toeing the line at the risk of displeasing him. It’s no wonder, as his sermons speak of restoring a Christian nation that’s been brought low by modern liberalism. Single mothers are particularly irksome to him, but he has no problem exploiting any weakness he detects in his followers. The ideological clash that ensues between him and Duplenticy goes far beyond the role of the church. On the flip side is the question of faith that’s debated, good-naturedly, between the young priest and Blanc, each raising valid points to support their stance.
Of course, the cast across the board is top-notch but O’Connor and Close deserve notice. The former, in many ways, carries the film on his shoulders and is more than up to the challenge. O’Connor’s energy and sincerity giving him equal footing with the veteran cast, while his subtle charisma captivates throughout. As for Close, this is one of her best performances, a layered turn that allows her to show strength, vulnerability and passion in equally convincing measures. A third-act revelation she makes is a showstopper and she milks it for all its worth.
As for the structure Johnson employs, it’s a locked-room mystery, with John Dickson Carr’s classic “The Hollow Man” used as a reference point by the filmmaker and Blanc himself. You can’t take your eyes off Craig as he takes the viewer by the hand and leads us through every step of solving, and sometimes getting stumped by, this seemingly impossible crime. The actor’s enthusiasm for this role and these films is obvious, his magnetism helpful in smoothing over some of the questionable elements in the solution Johnson offers up.
And though that was the case, I didn’t care. I was genuinely surprised as to who the killer was and though some of the circumstances surrounding the murder were a bit hard to swallow, I was so thoroughly entertained I took it all in with an appreciative smile. In an era of bloated Hollywood filmmaking, it’s a tribute to Johnson and his cast that at nearly two and half hours in length, “Deadman” is captivating throughout and I, for one, am eager to see Blanc continue to grace the screen.
3 1/2 Stars
