![The Red Right Hand Movie Reviews [Matthew Stogdon]](https://reviews.theredrighthand.co.uk/wp-content/uploads/2021/12/cropped-header1.png)
Director
Rian Johnson
Starring
Daniel Craig
Josh O’Connor
Glenn Close
Josh Brolin
After punching a fellow priest, Father Jud Duplenticy [O’Connor] is sent away to a small parish in upstate New York, run by the tyrannical Monsignor Jefferson Wicks [Brolin]. However, the dwindling parishioners have adapted to Wicks’ fire-and-brimstone homilies and attitude, which is at direct odds with Duplenticy’s softer nature. But when Wicks is murdered in an almost impossible manner, it makes Duplenticy the prime suspect and draws the attention of private detective, Benoit Blanc [Craig].
The beauty of the Knives Out films doesn’t necessarily lie in the mysteries themselves, but the exquisite writing, the revelry in the macabre, the mirror they hold up to society, and the sea of talent who get to play in this heightened, silly world. As such, each of these installments are signed with a distinct signature while retaining their own standalone tone and personality. Here, Wake Up Dead Man veers the closest to darker territory (which is ironic for three films about murder) if only for the literal gothic presentation and dramatic staging. All of which is accentuated by Nathan Johnson’s rumbling, spooky score; albeit oddly devoid of the iconic harpsichord, which fails to make an overt return from the previous two movies. But make no mistake, this chapter is still just as whip-smart and deliciously funny as its predecessors. The only other notable difference is that this case may be slightly easier for audiences to solve. Granted, even if it’s somewhat predictable in places, the fun is more rooted in the journey of where this narrative is going and how the events affect the core characters. Especially as the murder mystery at the heart of this story isn’t the full story itself. And it’s worth remembering, there’s a fine line between being shocked and surprised, and the satisfying levels of revelations that will send a dopamine hit coursing through your mind. The pleasing sensation of “Ah, I knew it. I was right to look into the corner of the frame there” or the instinct to pick up on some subtle glance from a character on the edge of the screen at a key moment. What is signposted to some, will be baffling to others, and these films have mastered the art of catering to both types of viewer.
With each passing Knives Out feature, Johnson and crew are assembling some of the most eyebrow raising cast lists going; a mix of up-and-comers and industry pillars. With the only returning element being Daniel Craig as Benoit Blanc, in a role that, over time, will likely overshadow his stint as James Bond. In truth, many would agree he could return to play this part every few years for decades and we’d still love it. If only for the fact cinema has struggled of late to create an iconic individual of such unique and identifiable eccentricity that they stick in your mind without eroding the joy you get when they’re on-screen. Case in point, Blanc doesn’t turn up for the first half an hour and yet when he arrives, you can feel the audience rubbing their hands and priming themselves for the story to kick into high gear.
Again, these are ensemble features. Much like the mystery films from the last century, even the smallest of roles is given to an actor of note. The only downside is you end up questioning how much one of those individuals had to do in said role. Because for those with theatrical pattern recognition, we know that a famous face in a film is either a noted cameo, or alternatively a cog in the machine that will have significant impact. But when everyone has a sea of accolades and skills, it acts as a double-edged sword. That said, it’s near impossible to fault anyone in this movie. Everyone turns up, delivers their best for their character and makes an indelible mark regardless of length of screen-time.
That is, except for Josh O’Connor. Over the last few years, O’Connor has really gained steam by working on a variety of projects, helmed by impressive creators; and this is no exception. What’s more, of the three companion/sidekicks (the others being Ana de Armas in Knives Out and Janelle Monáe in Glass Onion) O’Connor is one of the strongest; or possibly just more developed. But with this magnified focus, it can’t be understated that O’Connor’s earnestness should be jarring, his passion for the tenets of Catholicism should make you writhe in your chair but you genuinely believe him. This man is truly trying to make the world a better place because he’s committed sins and descended as low as one arguably can. He is a character we are legitimately rooting for, and that makes him captivating.
As stated earlier, the Knives Out franchise isn’t just a series of straightforward murder mystery movies, they’re a playground of shot direction, writing flourishes, and lightly masquerading themes. And addressing that last point, it would be easy to see this movie as an attempt to tackle the nature of faith and religion (and it very much is) but that, in and of itself, is more of a misdirect to talk about politics and once again the corrupting power of wealth. See, being a third film in this collection of stories, there are now distinct topics of note. After all, once is by chance, twice is coincidence, three times is a pattern. It’s no mistake that the character of Cy [Daryl McCormack] is the embodiment of every corroding political presence in America today, but Wicks himself is a conduit for Johnson to comment on the governmental landscape. By using a hate-spewing priest as a metaphor for the manipulation of zealots leading to the rise of fascism in modern politics with lines like “it’s like you’re intentionally keeping them angry and afraid” and fears of so-called “Marxist feminists” ruining the country, the film is able to ask the question, how long can a cult of devotees endure under a spiralling tyrant? And furthermore, is your endurance actually an act of performative self-serving preservation, as much as support? And if that wasn’t enough, every now and then Wicks’ collar is framed to literally resemble a T. And when everything on screen is a product of attention to detail, it’s hard to say that’s merely a fluke of costuming.
**Spoilers within**
Now, despite my high praise and ultimate 5/5 ranking, it should be noted that this movie isn’t perfect. There are fewer visually creative shots (especially when compared to Glass Onion) and heavy-handed flashbacks that sully the overall impact. But not enough to tarnish the whole. There is also one facet of the story that doesn’t work. And it’s a real “Who hears Charles Foster Kane say Rosebud?” moment. The entirety of this story is driven by a hidden treasure, notably in the form of a single priceless jewel. However, when its location is fully revealed, the only way it would have gone unnoticed is if the local townsfolk didn’t perform a full autopsy. And it may not sound like much and can likely be dismissed with a single line of dialogue, but for all the attention to detail, it’s an odd misstep. Not enough to derail any enjoyment or rewatchability but enough to allow a semi frustrated “huh” to escape your lips.
With Wake Up Dead Man being added to an already impressive roster, I for one am hooked on this franchise, and will eagerly await as many of these winter releases as Johnson and Craig are happy to make. Because, quite frankly, nobody else is hitting this niche in the same way.
Release Date:
28 November 2025
The Scene To Look Out For:
**Spoilers**
In a movie, everything should be intentional. And when you’re recreating sunlight on a set, it is absolutely there to make a narrative point. Nowhere is that clearer than the use of light and darkness as Blanc first arrives. Sunlight streams in but when Blanc tells Duplenticy of his scathing review of religion as a whole, the scene passes into overcast darkness, and it’s only when the young priest talks about what faith can mean that the light returns through the clouds. Sure, it’s simple visual storytelling, but it’s effective. Doubly so, when it returns as a callback in the films’ close, when blanc is bathed in the light again and realises his dramatic centre-stage revelation won’t have the desired effect. Less a crisis of faith in reason vs religion, storytelling and mythologising, more a crisis of faith in his own abilities and the part he plays in the story of these people’s lives.
Notable Characters:
The central cast are fantastic and each is given their time to shine but Close is an undeniable talent. She always has been and always will be. A monolith of quietly underrated brilliance, who is as compelling as she is dependable. Her energy, comic timing, wailing and disdain, they’re all magnificent levers to bring her character to life in the most pleasing and memorable way.
Highlighted Quote:
“That money is one psalm in the bible of my bitterness you fucking child.”
In A Few Words:
“The more Knives Out mysteries we are graced with, the harder it becomes to rank them in terms of enjoyment and quality. Because they are sitting on such a par.”
Total Score: 5/5
