A Clanky Clunk
When young priest Jud Duplenticy is sent to assist charismatic firebrand Monsignor Jefferson Wicks, it’s clear that all is not well in the pews. After a sudden and seemingly impossible murder rocks the town, the lack of an obvious suspect prompts local police chief Geraldine Scott to join forces with renowned detective Benoit Blanc to unravel a mystery that defies all logic.
Film
He works in mysterious ways, doesn't He? You may assume I'm talking about the Big Guy upstairs – but in this case, I'm talking about Rian Johnson, the writer/director of Wake Up Dead Man, which is the third entry in his murder mystery film series set in the Benoit Blanc Cinematic Universe. Much like the previous two series installments, Knives Out and Glass Onion, Wake Up Dead Man is intricately constructed and beautifully composed, towing the line between homage and invention ever so carefully as to not tip the scale too far in either direction. As you know, the Knives Out franchise has been housed or trapped at Netflix (depending on how you see the world) since it bought exclusive rights to two sequels after the first film's immense success. And while this may lead those cynical spectators among us (myself included) to assume that propriety might result in a lesser, watered down product, those kind of trepidations would be misplaced – praise be!
Made to be seen on the big screen (and no, not that one in your living room), Wake Up Dead Man (like its predecessors) is a movie's movie, one that boasts a who's who ensemble of your cinephile's favorite character actors, plus Daniel Craig returning as Detective Benoit Blanc. As usual the top-to-bottom lineup is stacked (even though some of them are perhaps miscast or underutilized), the three primary players at the center of this story (aside from Craig) are particularly memorable: Josh Brolin as Monsignor Jefferson Wicks, Glenn Close as Martha Delacroix, and the film's MVP, Josh O'Connor, as Reverend Jud Duplenticy. Together their complementary styles and personas build out an atmosphere that feels fully realized, both heightened and grounded in perfect tonal syncopation. O'Connor, in particular, steals the show; he is bona fide five-tool performer with the ability to make you laugh, cry, and at times, make you forget that he's acting. He certainly has the presence to hold the screen all by himself, but he is just as engaging when sharing a scene with someone – there are a few scenes where he and Craig are so good together you'd think (and perhaps wish) he was a series regular. I'd be curious to hear from Johnson whether he writes his characters with performers in mind or if he and his team just have a knack for inspired casting. Safe to assume it's a mix of both, but I have a hard time believing he is writing in a vacuum void of such intention.
Since I can't remember exactly how when or how I heard/learned this (could've been an interview or a reel I saw whilst swiping), though I'm not complelled to source it... But one thing I've come to appreciate about the Knives Out series is how Johnson conceives each installment to have its own unique look and feel (despite them all having many of the same behind-the-camera collaborators). Each film is set in a different season: Knives Out in cozy, autumnal New England; Glass Onion during a sun-soaked, Greek island summer vacation; and Wake Up Dead Man in gothic upstate New York in the very early spring. If you want to go one layer deeper, did you know that each film is named after a specific song by a famous rock band? Knives Out after the Radiohead song of the same name from Amnesiac; Glass Onion after The Beatles' song from The White Album; and Wake Up Dead Man by U2's song from their album Pop. If you're into this sort of thing, I recommend giving each them each a listen – the lyrics of these songs no doubt inspire and hint to their corresponding film's central metaphors, themes, and vibes.
That correlation in Wake Up Dead Man is undeniable. The title is an obvious double entendre, sure (call me the Master of the Obvious™), and there is a lot of religio-philosophical musings going on about the mysteries of faith and the narrow margins between penance and forgiveness. Even that makes it sound heady and pretentious – let me reassure that it's not! Sure, there's a lot to unpack in Wake Up Dead Man if you're into that sort of thing, but the film's thematic depth never bogs down its pace or tempo, nor does it impede upon how enjoyable and easy-to-watch it is from start to finish. It isn't enough for a movie to have nifty plotting mechanics – mystery, puzzles, and riddles are enough to draw in an audience but certainly not enough to keep them invested. The film has humor, heart, and something to say – how often do you get all three of those flavors in one bite? What I respect most about Wake Up Dead Man is that, like its predecessors, it cares about its characters and priorities entertainment above all else. Agatha Christie would, no doubt, be very proud. While it may not quite recapture the magic of the original, this was, for me, a step up from the last installment, and may very well be the one that lingers in my mind the longest. Under Johnson's exacting direction and trusty stewardship, this series shows no signs of winding down or pittering out. Amen.
Froth
First off, let me just say how fucking thrilled I am that construction on Milwaukee Avenue has (mostly) ceased in Logan Square and made the parking and travel logistics to Hopewell a bit easier this holiday season – we are truly blessed to live in a world where city construction projects DO come to an end (albeit much later than one might hope). Anyways, I have an annual tradition of ordering the seasonal Winter Lager from Hopewell (one of my first Chicago loves) was put on hold during my recent visit to their taproom (don't worry, I'll make my way back before it goes into hibernation). This time around, I opted for something a little lighter and a little brighter. I've not had this before, and while I still don't really understand what it means to be wet-hopped (more on that in a second), I enjoyed this! It was bitter in a good way, piney in a punchy way, and fruity, in a subtle but welcome and refreshing way. Also, the term "wet-hopped" describes hops that are fresh and unprocessed, harvested and and brewed in short order, contrarty to hops that are dried and pelleted for future use. The flavors are more intense, earthy, and grassy (which might not sound like something you want until you realize you should). I'm now completely locked into this whole wet-hopped and might make this my whole beer personality (kind of like how I went through an extended nitro beer phase a few years ago). I don't need to say this, but go to Hopewell. And be sure to order your hops wet. Sorry, that was inappropriate.
