When life was heading down a disappointing path, thinking there were no more great movies left this year, it’s excellent to know we have the latest mystery to look forward to from writer/director Rian Johnson. This genre and he made for a refreshing match once we saw Knives Out, and it became an instant whodunit classic. The same can be said of its first standalone sequel on Netflix, Glass Onion, which is undeserving of the unexpected hate and is an underrated film rarely mentioned anymore in the same breath as its predecessor. How could I not be excited to see what case Daniel Craig’s Benoit Blanc will solve with a new cast of characters in Wake Up Dead Man? In a franchise that’s all about the sheer investment and throwing our expectations out the window, these movies still prove Johnson is clever when crafting murder mysteries. And even if Wake Up Dead Man might be my least favorite of the three (as of one viewing), you’ve got yourselves a fantastic trilogy to be remembered for years to come.

What’s the Story: Former boxer turned priest, Jud Duplenticy (Josh O’Connor), had recently been assigned to Our Lady of Perpetual Fortitude in the small New York town called Chimney Rock. The Church, led by Monsignor Jefferson Wicks (Josh Brolin), doesn’t always have the best attendance record. However, he has his “flock” devoted to his secret congregation, including devout church secretary Martha Delacroix (Glenn Close), washed-up sci-fi author Lee Ross (Andrew Scott), former cellist Simone Vivane (Cailee Spaney), lawyer Vera Dreven (Kerry Washington) and her adoptive, wannabe politician son Cy (Daryl McDormack), groundskeeper Samson Holt (Thomas Haden Church), and town doctor Nat Sharp (Jeremy Renner). When someone is shockingly murdered during the Good Friday service, local police chief Geraldine Scott (Mila Kunis) enlists the help of private detective Blanc to solve an investigation that might be impossible for him even to crack.

What I’ve come to love about each Knives Out entry is, besides the idea of standalone stories with new, unreliable people as suspects, the feeling of being different that makes them stand on their own. Where the first film gave off this American Gosford Park in autumn vibe inside the work of Agatha Christie, and Glass Onion was more vibrant, Wake Up Dead Man sees Johnson go towards a slightly darker tale of a “locked-room mystery” that had to be inspired by the approach of Edgar Allan Poe, especially in its setting inside the confined church itself. It’s a story that lets you feel the tension and the possible secrets that emerge as the mystery unfolds. With Blanc there, of course, to use his skills to unravel the murder, it’s not always easy to find answers.

Even though I’ve only watched the trailer once, I still went into this pretty cold on how it would play out. The initial fear that this installment would take itself too seriously proved unfounded, as it contains the dark humor of the prior films, though with fewer funny moments. But it isn’t a Knives Out/ Johnson joint without something important to say about our society. From class and privilege among a dysfunctional family to complicity and corruption amongst friends, never did I think this would have the chance to incorporate with the idea of faith. Coming from someone who’s currently questioning what I believe, I’d say this handles it well enough without being preachy to those who aren’t believers. The twists thrown into the plot keep the unpredictable aspect of these films alive, with the central mystery keeping the intrigue going for hours. But I have to hand it to Johnson for being able to explore the depths of personal belief and redemption, to possibly examine why following those we put our trust in, say everyone devoted to Monsignor’s words, can’t all be right. In placing the murder inside the confined lock room, it helps to show how it could shape our belief systems concerning mortality or rationalizing faith as a double-edged sword.

Once again, the charm Daniel Craig brings to Benoit Blanc never ceases to amaze, and he remains one of the reasons the series is excellent. Even in a new location, this case definitely puts Blanc in a more challenging position than before, as his detective skills cut through religious devotion and superstition to prove Jud’s innocence. By far another terrific performance from Craig, I’ll never get tired of, and it’s his most engrossing yet. Although he is considered the lead, the true scene-stealer goes to Josh O’Connor as Father Jud. Much like how Ana de Armas and Janelle Monáe were working with Blanc, O’Connor’s character is the one we’re following in the first 40 minutes, and this is a man seeking a righteous path after killing a man in the boxing ring. His plans to help others often control him, but Jud is going through a life crisis that you hope he overcomes throughout the investigation. When I thought he was great last year in Challengers, this might be the best performance on film yet.

Glenn Close delivers the second-best performance, following O’Connor, as the church’s oldest employee, eliciting some chuckles from the audience. But you suspect that her character, Martha, knows more about Wick’s history and the church itself, and her overall performance was one of her most memorable in almost a decade. Johnson continues to impress with a great ensemble, and I couldn’t believe the talent he assembled. Everyone is excellent, as these flawed people surround this foundation. My only criticism, and some will agree, is that I wanted more screen time for a few actors since they get sidelined as the film goes on. In particular, Kunis, Church, and Renner (his first film after his horrific accident a few years back) come to mind, as they didn’t have much to do. That said, since the upcoming Oscars will be the first time Best Casting is introduced, how could this not be among the first films nominated?

The thing I love about Johnson’s screenplay this time around is how it keeps you on your toes: the clues given to you at first seem obvious, yet you can look back on them and be completely surprised, especially when you rewatch it. But between his writing and direction when switching genres, the craftsmanship on display is my favorite of the three. His collaboration with cinematographer Steve Yedlin was most impressive with its lighting. That was an element I was thinking about on the drive home, realizing how rich it was to notice. Most of the scenes, in particular with Blanc and Jed, have this way of letting the sun disappear behind the clouds when it comes through the windows in the room, with a great moment where Jed talks on the phone with a construction company employee named Louise (Bridget Everett), providing the series’s most compelling scene with this conversation.

It’s still a shame that not everyone will have the chance to see this in theaters, and there were only three of us there. It was a smart move for Netflix to have a limited release, but it shows there will be support from fans to see their favorite director’s films on the big screen. Just like how I wanted to support Guillermo del Toro in seeing Frankenstein, there was no way I was watching Wake Up Dead Man for the first time at home since I had the opportunity to see Knives Out and Glass Onion in theaters, and I’m just glad I made the time to do it. There’s a chance Johnson might take a break before stepping up for a fourth. Though give me two more of these with more recognizable faces, and I’ll be happy.

Overall, Wake Up Dead Man sees Rian Johnson delivering another standout installment in the Knives Out franchise. Aiming to be darker without losing its sense of fun within its surrounding mystery, the unpredictable nature keeps the attention alive with two outstanding performances from Craig and O’Connor. If you’re a fan of the first two, you’re going to love this, too.

Grade: A-