Puñales por la espalda: De entre los muertos

I had to keep watching till the end because I was already invested! But it was much too long and it felt like overly long Agatha Christy novel. Some of the characters were interesting and some just felt like fillers. There are movies out there that you want to watch over and over again, but that wasn't the case this time for me.

Absolutely brilliant, from the info-packed in-media-res letter, to the acute socio-political implications, to the tortuous twists and developments, to the holy light thrice reilluminating the children of Christ. Director and writer Rian Johnson proves not once, not twice, but three times why he is the master of murder mystery in modern cinema through Knives Out, Glass Onion, and lastly, Wake Up Dead Man.

Right off the bat, the flippant and distressing strings, the grandiose and stage-like architecture, and the group of storyful suspects immediately take us back into the Knives Out universe. Yet, unlike the first's unorthodox unfolding of truth or the second's unexpected shadow investigator, Wake Up Dead Man is a downright conventional Agatha Christie detective, with the puzzle's structure and intricacy reminiscent of Honkaku mysteries and an added undertone of Edgar Allan Poe's gothic influence. Needless to say, this is the biggest mystery of the trilogy, whether its span over several decades, the heavy involvement of every character, or the multiple twists while we're still clueless about the first. And yet, this colossal mist of impossibility also makes Blanc's field investigation and deduction even more thrilling and engaging, as the audience ventures along with the detective in decrypting the unreliable narrations and myths.

The backstory of the case also differentiates it from the previous two, not just stemming from a simple conflict of interest, but fundamental hatred, whether greed or pride-induced or interpersonal and impulsive. In a world where hatred is so calcified, institutionalized, and weaponized, Wake Up Dead Man preaches cordiality and sincerity through the saintly Jud. Bravo to Rian Johnson and Josh O'Connor for pulling off the incredible phone call scene, where our sentimental and dubious protagonist becomes the undeniable hero through his "save the cat" moment. Religion is such a difficult element to incorporate because it can't be satirized or trifled with like old/new money, politics, and the entertainment industry in the previous two films; even with 2025 years of Catholicism, Johnson still boldly gives his interpretation of religion, landing on storytelling and its power to heal (an amazing callback and contrast to the use of narrative trickery in the murder). In the end, as the cliche but extremely touching death-in-the-arm scene moralizes, we must see "Grace" in the harl*t wh*re - hate, but don't take grudge. That is the true inheritance of Christ.

Despite my disinterest in nowadays spin-offs and sequels, the Knives Out Mysteries is the one saga I would like to see continue. Definitely a film I'd recommend and definitely one I'd rewatch.

Before diving into the murder mystery aspect, I want to take a moment and acknowledge the commentary done on faith here.

A double-edged sword; on one side, it can uplift those in need and pain, guiding them toward better decisions and encouraging repentance. However, it can also be twisted and misused for selfish gains, leading some to become radicalised, blinded by anger and driven by greed and hate.

Now, turning back to the main story, while it certainly captivates and offers suspense in certain moments, the final twist doesn't deliver the punch that a good "whodunnit" should.

And I feel the primary issue lies in the lack of a compelling ensemble who would fit according to the situation being dealt with.

In narratives like this, it's essential for each character to have a strong, distinct identity, allowing the audience to continuously speculate and second-guess who the real culprit might be. When the cast fails to spark curiosity or engage the viewers, the whole experience feels diminished, ultimately undermining the story's intent.

With the exceptions of Blanc, Martha and Jud, the rest failed to make their cases heard, utterly forgettable on every front.

Fr. Jud Duplenticy (Josh O'Connor) is a young priest reassigned to a remote parish where Monsignor Jefferson Wicks presides with a combination of theatrical flair and spiritual manipulation, a style the Church higher-ups deeply disapprove of. Jud arrives already uneasy about Jefferson's practices and it doesn't take long before the two clash openly. A few days later, Jefferson collapses and dies inside a small viewing chamber during a church service, with the entire congregation present and all of them potential suspects.

The Knives Out films have always thrived on sharp characterization and clever, layered mysteries but here, the bigger the cast gets, the thinner the story becomes. The first two hours drag like a penance. Conversations stretch forever without payoff; the extended talk between Jud and Louise feels like pure filler, aiming for quirky humor but landing somewhere between awkward and irrelevant. Even the early "boo!" moments with Glenn Close suddenly popping into frame, clearly meant to be funny, play like a desperate attempt to generate a laugh.

Josh O'Connor commits fully, but he's stranded in scenes that don't know what tone they're aiming for. The ensemble is vast, colorful and utterly underused, a recurring problem as the franchise inflates itself.

The film finally wakes up when Benoit Blanc (Daniel Craig) begins unraveling the mystery. For a brief moment, it feels like the sharp old magic is returning. And then... he just stops. The momentum dies, and the movie pivots into a last-minute plot twist followed by a long, talky explanation that feels like the cinematic equivalent of being shown the answer key after the exam is already over. It's not clever, it's an apology disguised as a finale.

There are bright spots: the production design is gorgeous, the supporting cast has bursts of fun and Craig is still an absolute delight whenever he enters detective mode. But the script is overloaded with empty dialogue, undercooked ideas and humor that never quite lands.

Not terrible, just underwhelming, especially for a franchise that once felt so sharp.

This is the third Knives Out film and whilst perhaps it doesn't hit the mad heights of ingenuity of Glass Onion, it's still highly watchable and way better than the recent Hercule Poirot films of Kenneth Branagh. Josh O'Connor is surprisingly good as the troubled young priest who becomes deeply disturbed at what he sees in the parish he is sequestered to after hitting another priest. He finds himself charged with murder and only Benoit Blanc (Daniel Craig) believes he is innocent. In true Knives Out fashion, everyone is a suspect and Blanc has to unravel the truth in his own inimitable way.

A great cast has fun playing some truly disturbing characters, especially Glenn Close as the borderline unhinged Martha. Blanc arrives about a third of the way into the story leaving Josh O'Connor plenty of room to shine as the naive but not stupid Father Jud. He finds the idyllic parish he is sent to to be anything but, full of strange eccentrics who don't trust him. Of course once Blanc arrives to try and piece together a story that at one point even he admits he doesn't understand then things get even more interesting.

What I like about this film, and the two Benoit Blanc films that came before, is that it is almost like a 21st century Colombo episode (except without telling you who teh guilty culprit is at the beginning). Craig's eccentric performance as Blanc might be irritating in the hands of a lesser actor and its a role he has grown into. Surrounding him with well known actors playing against type is a masterstroke and helps sell it even more.

Wake Up Dead Man is the third in the series so far and the second of a two picture deal director Rian Johnson agreed with Netflix. I really hope we get more Benoit Blanc films, preferably with another distributor as these films deserve a proper theatrical release rather than the limited one Netflix (very reluctantly) agreed to. You don't need to be a genius to realize that they are relatively inexpensive (by movie standards) to make, have a loyal (if older) audience who appreciate originality over bloated visual excess (such as the first two Branagh Poirot films) and love the dark humour these films serve. Actors want to be in them, Johnson and Craig want to do more of them and the public want to watch them. It's not rocket science!