Staff Reports
In the vibrant world of cinema, few names spark as much debate as Ryan Johnson. His latest endeavor, “Wake Up Dead Man,” the newest chapter in the Knives Out series, has audiences lightheartedly leaving theaters, either raving or lamenting their choices. This film, featuring an impressive ensemble cast, has sparked quite the discourse about plot, character development, and, more importantly, its overt political commentary.
At first glance, it may appear that Johnson has crafted an intricate murder mystery akin to those penned by Agatha Christie. With heavyweights like Daniel Craig, Glenn Close, and Josh Brolan gracing the screen, viewers are drawn in with high expectations. Yet, those familiar with Johnson’s previous works, particularly “Glass Onion,” may find themselves bracing for a familiar frustration: sharp performances buried beneath messy writing and a problematic narrative structure.
The film quickly reveals its flaws as it attempts to weave a compelling mystery. A hallmark of great mystery storytelling is the sheer thrill of piecing together clues alongside the characters. However, “Wake Up Dead Man” strays from this convention. As the plot unfolds, characters present half-baked logic and the clues feel contrived, leading to a disappointing conclusion that seemingly pulls details from thin air rather than the story crafted throughout the film. This begs a fundamental question: Is it truly a murder mystery, or simply a dramedy that hopes to entertain by spectacle rather than substantiated plot?
Johnson appears to wield his narrative choices like a sledgehammer rather than a scalpel, delivering a political message that critiques traditional Catholicism and aligns almost comically with his perception of moral standards. Throughout the film, it’s evident that characters with a conservative bent are demonized, with the narrative portraying them as either ignorant tagalongs or outright villains. In stark contrast, the more progressive characters—such as a well-intentioned but ineffective priest—receive sympathetic treatment, leaving audiences to question if the story is more about right versus wrong, or simply right versus righter.
In this context, one must ponder how a film budget of $152 million found its way into such lackluster storytelling. It’s a massive investment that seems ill-suited for a film reliant solely on dialogue and character dynamics. While some may argue that the star-studded cast can carry a film, it’s increasingly clear that without a solid script and coherent direction, their talents are underutilized. The film’s running time, nearly two and a half hours, feels excessive when so little of substance occurs that truly engages the viewer’s intellect.
Despite its shortcomings, “Wake Up Dead Man” serves as a reminder of the diverse interpretations of art and storytelling in modern cinema. Johnson’s approach to filmmaking, albeit flawed, sparks dialogue and elicits emotional responses—whether it’s laughter from its goofiness or frustration over its disjointed storytelling. Like any good mystery, it leaves the audience pondering not just the characters and plot but the intentions behind the narrative. In the end, one could say that while Johnson might not hit the mark with every shot, he certainly knows how to keep the audience guessing, for better or worse.
