Netflix And Chill: Wake Up Dead Man (2025)

It's time for another Benoit Blanc mystery written and directed by Rian Johnson and this time around the murder mystery has repercussions that affect a small local church. There are more twists and turns, there's another stacked cast (although, with respect, maybe not as stacked as the previous two movies), and Craig feels as if he has become completely comfortable in a role that has most successfully allowed him to move further away from under the shadow of Bond. Is it any good though?

The short answer is yes. The longer answer is that Wake Up Dead Man is perhaps the most interesting and substantial Benoit Blanc mystery yet, but it's not necessarily as much fun as the previous instalments in the series.

A Monsignor is the murder victim this time, but he also might have enough belief in the idea of resurrection to make his death less permanent than some others (hence the title). The main suspects are a younger priest with a troubled past, loyal members of a small congregation, and . . . some divine retribution?

I expected to have fun with Wake Up Dead Man. I expected to enjoy the cast, which also includes sizeable roles for Josh O'Connor, Josh Brolin, Jeremy Renner, Andrew Scott, Thomas Haden Church, Glenn Close, Kerry Washington, Daryl McCormack, Cailee Spaeny, and Mila Kunis. What I didn't expect was a film that mixed a murder mystery with an exploration of organised religion, personal faith, and the good and bad aspects of both. Some of the cast members may suffer slightly as they wait on the sidelines for some of the runtime, and Blanc himself doesn't come into the movie until about the 40-45 minute mark, but it's impressive to see Johnson use the template for such a thoughtful and insightful conversation about how people can be guided, or misguided, by someone, or something, helping to direct their moral compass.

Both O'Connor and Brolin are superb in their roles, the former quiet and contemplative while the latter is keen to deliver some fire and brimstone fury in sermons designed to drive away those he disapproves of, and Close, Washington, and Scott are the highlights from the rest of the ensemble, although everyone does good work. Then you have Craig, having even more fun this time around with a character who is more comfortable in his own skin than anyone else onscreen. 

Johnson knows that he has people onside by this point. That gives him the space and time to wander around some new territory, always checking back in often enough to show us what is happening with the murder investigation. Patience is rewarded, no questions are left unanswered, and Johnson makes effective use of our goodwill without squandering it.

Some have already stated that this is their favourite Benoit Blanc mystery yet. I'm sure there are others who were disappointed. I'm also sure that it has at least done enough, in terms of audience numbers and conversations, to make a fourth outing very possible. Johnson seems to be very happy helming these, Craig seems to be just as happy to star in them, and viewers tend to be happy with the end result. I'm already curious as to what song title will be used next. 

8/10

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Wind River (2017)

When the corpse of a young woman is found on a Wyoming Native American reservation, a young FBI agent, Jane Banner (Elizabeth Olsen), is tasked with figuring out exactly what happened. She is helped by a wildlife officer, Cory Lambert (Jeremy Renner), and accompanied during her investigation by a tribal police chief, Ben (Graham Greene). Banner runs into a lot of resistance as she tries to solve the case, from the Native Americans who distrust her to the local medical examiner who refuses to class the death as a homicide, despite it seeming fairly obvious. There's also the crowd of men who work on a nearby drilling site to deal with, especially when it comes to light that the victim was apparently dating one of them.

This is a film written and directed by Taylor Sheridan, and it's worth noting here that there's a lot to discuss and pick apart when it comes to Sheridan's decisions here, both behind the camera and while discussing his film as it pertains to the horrible statistics that show just how many Indigenous women are abused, raped, and/or murdered in comparison to other ethnic demographics (and I know I should grasp some better, more humane, wording, but I am navigating this paragraph as best I can). I'm not going to dig too deep into Sheridan's psyche, but I will say that others with greater insight than myself have praised some of his intentions while also criticizing him for some of his casting and his contribution to the common pattern of "dying Indians" presented throughout cinema.

With that said, let's get back to the standard film review. Wind River is, for the most part, an enjoyable and interesting thriller that, for me, mixes in some really worthwhile explorations of the Native American way of life, whether that is tied to how they are viewed/misunderstood by others, and how they shouldn't have to tolerate those wandering into their lives and culture with no knowledge of either, or whether it's trying to convey how they process different types of grief. Although it speaks more to my own blind spots than anything else, I didn't consider the troublesome elements (e.g. the aforementioned "dying Indian" trope, the casting) while everything was playing out. Would the film have been better with someone else cast in the role played by Renner? Yes, but I could say that about almost any film that has Renner in it. I do think his casting probably helped to fund/sell the film, and I think his position as an outsider who managed to integrate into the community does offer an extra angle to everything that ultimately makes it a good decision.

It's useful that the film casts such a fantastic ensemble around Renner nonetheless, and almost every other main performer delivers something better than the "big name". Olsen is allowed to act unsure and awkward without ever seeming incapable, and she does a great job with a role that could have easily been sorely mishandled. Greene is always a welcome screen presence, and he's dependably fantastic here, as are Gil Birmingham, Kelsey Asbille, Julia Jones, Jon Bernthal, and James Jordan, all namechecked here because they each have at least one or two moments that allow them to prove how good they can be.

You could argue at length about who would be a better choice to tell this story, as well as what could have been improved, but I am going to simply appreciate what we have here. That doesn't stop me from seeking out other cinematic voices, and I encourage everyone to do just that at every opportunity, but I definitely think that this works brilliantly as a crime thriller, as a look at a problem that more people should be reminded or made aware of, and as a springboard for conversation. There's also a lot to appreciate on a purely technical level, including some crisp and beautiful cinematography from Ben Richardson and a score from Nick Cave and Warren Ellis.

Very much worth your time, as long as you can stomach the more disturbing scenes, and very much worth discussing, even if you end up completely disagreeing with my own opinion of it.

8/10

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The Assassination Of Jesse James By The Coward Robert Ford (2007)

A rare, but enjoyable, occasion when a film is rendered fairly impossible to spoil by the title, The Assassination Of Jesse James By The Coward Robert Ford is also a film that I find it fairly impossible to view as nothing short of a near-masterpiece.

Based on the novel by Ron Hansen, it is, boiling it down to the most basic components, exactly what it says it is. It's also so much more though, starting with a look at who Jesse James (Brad Pitt) really was, a man who sometimes enjoyed his reputation and sometimes had it tightening around his neck like a noose, and then showing the things that would fall into place to lead to that fateful moment that gave Robert Ford (Casey Affleck) his moment of fame.

Adapted into screenplay form by director Andrew Dominik, a man who has been drawn throughout his career to the idea of criminals buying into/creating their own hype and the knife edge of fame and infamy, this is a film with a few people delivering some of their very best work, and that includes Roger Deakins, a man with no shortage of great cinema moments to throw into contention for the best ever. Even by his own high standards, Deakins delivers something here that has a perfect blend of grit and beauty.

When it comes to the cast, Affleck takes the top honours here. His character is never once likeable, and his presence often creates a sense of unease for those around him. Affleck plays it perfectly, showing us all the man who doesn't want to be seen directly by those he interacts with onscreen. His every attempt to charm backfires, whether it is due to him speaking "out of turn", taking a second too long to pick exactly the kind of smile he wants to offer, or sizing up any company to decide who he wants to side with if things suddenly go South. The next best performance may well come from Paul Schneider, pretty much the exact opposite of Affleck's character. I don't mind Schneider, but have rarely had cause to consider him as a really good actor. He really impressed me here. Other great turns come from names you expect to deliver great turns. Jeremy Renner does well, but both Garet Dillahunt and Sam Rockwell effortlessly remind viewers of why they are so welcome in any project they board. Sam Shepard, Mary-Louise Parker, Pat Healy, and Ted Levine all remind you of how good they can be, and Pitt excels as someone who has enjoyed making himself into a legendary figure he is now trapped by.

There are small mis-steps here and there, with one being a moment of narration that goes out of its way to tell us how Jesse James had a condition that made him blink more often than most people . . . before we see him throughout the movie hardly blinking at all. This seems, and is, a very minor failing, but it just seemed so odd to have had this detail pointed out that is then seemingly forgotten for the rest of the film.

While James is the figure at the centre of everything, however, Dominik takes his time to eventually lead viewers further and further into the mindset of Ford, showing the divide between the romanticised ideas of gunslingers making their mark and the reality of knowing how it felt to take someone else’s life with one pull of a trigger. I won’t say that you ever really warm to Ford, but the journey he goes on shows his brief ascension to “stardom” before heading towards an inevitably miserable and troubled existence. He is a man defined by one act, an act he tries to keep justifying for years, and everyone gets to form their own opinion of him.

It would be rude not to mention the soundtrack, from Nick Cave and Warren Ellis (with Cave also onscreen for one very memorable moment), and the whole feel of the movie is superbly authentic, but it is the visuals and lead performances that will stay in your mind after the end credits have rolled. They are right up there with the very best of the 21st century, and this is a film that deserves the praise it has received over the years since it was first released. You won’t forget viewing this, and I doubt the lengthy runtime will put anyone off from revisiting it when they want to bask in the quality and gorgeousness of it.

10/10

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Prime Time: Dahmer (2002)

Anyone with knowledge of serial killers will have heard of Jeffrey Dahmer, the Wisconsin killer who was eventually apprehended by the police and found guilty of murdering 17 men. That's not a spoiler. Not if you know of Dahmer. It's not even a spoiler for this movie, which instead decides to focus on a certain time during Dahmer's various murders, interspersing things with flashbacks to show Dahmer's relationship with his father.

Jeremy Renner plays the title role, a shy young man who seems to be struggling with ways to live his life the way he really wants to. He's spent years processing his own sexuality, and he usually doesn't feel at ease in the company of others. He also wants to create a living zombie. 

There's not much else to say. Jeffrey Dahmer was an evil man who did't look evil. Because serial killers often don't walk around with horns growing out of their heads and glowing red eyes. But even if you're familiar with his M.O. then there may still be one or two moments here that will make you squirm in discomfort, at the very least.

Writer-director David Jacobson knows what he wants to do with the plotting, and he does it all very well. A few shocks scattered throughout are enough to keep you remembering just how messed up Dahmer is, yet nothing feels too overdone or gratuitous. And there are times when you can see how some circuitry has blown, how Dahmer started down a path that made it easier and easier for him to shed any good intentions he may once have had. The movements between the present and the past aren't always immediately clear, but you usually get up to speed quickly enough to see how all of the pieces are fitting together, a jigsaw puzzle of a character study being put together without you having seen the picture on the box.

Renner is excellent, giving a performance that easily ranks as the best I have ever seen from him. He is, understandably, the focus of pretty much every scene, and that makes it hard to heap too much praise on the rest of the cast, who all do well enough. I'll just mention Bruce Davison, who plays Lionel Dahmer. Although Davison is always an excellent actor, it's fortuitous that the man who was the awkward and dangerous Willard portrays the father of the awkward and dangerous Jeffrey Dahmer.

Even more so than films with criminals/anti-heroes at the centre of them, films about serial killers have to walk a fine line between showing the abnormal minds that people find so fascinating without glamourising their horrific crimes. Jacobson walks that line with ease, and he's delivered a film that should work for anyone at all interested in the macabre subject matter.

8/10

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Tag (2018)

Based on a true story, to a degree, Tag is a comedy all about a group of friends who have tried to stay young at heart by competing in an ongoing game of, as you may have guessed, Tag. It happens every year, throughout the month of May. That last one who is tagged as "it" is the person who has to spend a whole year knowing that they were the loser. One member of the team (Jerry, played by Jeremy Renner) has never been tagged, but this is the year when that changes. It's also the year of his wedding.

Marking the feature directorial debut of Jeff Tomsic,  Tag is about as middling as mainstream comedies get. I'm not going to deny that I laughed a few times, which is a few times more than I expected to, but a lot of the humour here comes from the cast, who elevate the fairly weak script by Rob McKittrick and Mark Steilen.

Renner is a lot of fun here, his ultra-serious approach to covering all of the bases to avoid being tagged a highlight of the film, and the rest of the team do well. Ed Helms is the one who seems to have things planned out best, Jon Hamm looks to be a viable threat at times, Jake Johnson is in unfocused stoner mode, and Hannibal Buress amuses with a number of timely, but unhelpful, observations. Isla Fisher is very good, playing the wife of the character played by Helms, her intensity turned all the way up to 11 for many of her scenes, Leslie Bibb isn't bad as the bride-to-be, and Annabelle Wallis follows the group to get an unexpected story for her newspaper, the Wall Street Journal. Rashida Jones is always a welcome presence, but she's shoehorned in here as a distraction for two of the main male characters, and subsequently given nothing decent to work with.

I'm surprised that we don't get a selection of upbeat pop hits but, otherwise, this ticks all of the expected boxes. You get flashbacks to the characters playing the game as kids, you get a number of tag-related set-pieces, there are some underhand tactics, and you also get a secret revealed towards the back end that is supposed to underline everything with some additional emotion and poignancy (although it doesn't). Fisher aside, the women onscreen are mostly sidelined by the men running after one another and being big kids, and it's all presented as a wonderful way in which friends stay bonded over the years and hang on to their youth.

It's a shame that this is so mediocre throughout, but then it's also hard to see how it could have been anything more than that. How, after all, do you flesh out a film that is based around such a silly, and lightweight, concept? Maybe you decide that it's not really film-worthy and move on to something better instead.

Some may, of course, like this more than I did. Many may liked it even less. Aside from the lack of major laughs, I just found myself often watching the carnage onscreen and wondering just why these people were being celebrated for being selfish men-babies who didn't care about the damage they were causing to bystanders and property as they raced to tag one another. That may just be a sign that I am now officially middle-aged. Or it MAY be that these characters aren't really worthy of a whole movie.

5/10

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Avengers Assemble (2012)

And so it appears at last (albeit with an annoying title change so that we easily confused Brits don't think Steed and Emma Peel are coming back to the big screen this year), the  film that looks set to be the mightiest of superhero movies, the royal rumble of the Marvel cinematic universe, the geekgasm for comic book fans. With Joss Whedon directing (and co-writing the script with Zak Penn), Avengers Assemble actually manages to be all of this and more.

For anyone adjusting to the sunlight and the sights around them after coming out of some decade-long hibernation, here is the plot. Loki (Tom Hiddleston), last seen causing major trouble for Thor (Chris Hemsworth), has managed to get himself to Earth with a device that can run on self-sustaining energy and grow more and more powerful. Loki hopes to use this device to bring a warring alien race to Earth, cause mayhem and chaos, and then lord it over all he surveys. Nick Fury (Samuel L. Jackson) really doesn't want this to happen so he enlists the help of the superheroes that he knows and thinks up to the task. Captain America (Chris Evans), Iron Man (Robert Downey Jr.), Thor, Dr. Bruce Banner/The Incredible Hulk (played by Mark Ruffalo in both forms), Black Widow (Scarlett Johansson) and, hopefully, Hawkeye (Jeremy Renner). The biggest problem is that these characters don't play well together, something that Loki soon realises as he puts strain upon strain on their relationships (even completely taking over one or two characters to do his bidding). There's also the ever-dependable Agent Phil Coulson (Clark Gregg) and Agent Maria Hill (Cobie Smulders).

Most of the cast here have already grown into their characters in a previous movie (with Robert Downey Jr. perfecting his great patter in two enjoyable Iron Man films) but viewers may be most surprised to find that the person who comes near to stealing every scene here is Mark Ruffalo, arguably the best onscreen interpretation yet of the man who fears his own uncontrollable strength and rage. In a script full of great one-liners he also comes close to bagging two of the top five spots (though the absolutely greatest retort comes from Loki in a comment so funny that the cinema audience I saw the film with was laughing hard for the next full minute). But the best, and most impressive, thing about Avengers Assemble is just how everyone gets their share of great moments without the movie feeling overlong or bloated in any way. You may go into this film with a favourite that you're looking forward to seeing but I guarantee that you come out of it loving the entire group and struggling to pick an outright favourite moment. Which all goes to show just how much praise Tom Hiddleston also deserves for making Loki such a memorable and worthy villain, a perfect mix of camp and menace and scheming (his outburst to Black Widow in one particular scene ranks up there with some of the very best rants by cinematic baddies ever).

The writing is as sharp as you would expect. Okay, this isn't necessarily a film for complete newcomers (if there ARE any) but it sketches out enough details to keep most people happy and it does a great job of following major plot strands through a whole cat's cradle of different sub-strings. There are also at least four great action set-pieces, just as important to a film of this type, and the barnstorming finale features a superb mix of CGI, witticisms and sheer spectacle.

As you would expect from Whedon, he knows what fans want. I think that most people will be like myself, eager to like the film even before the opening titles come up. But with great anticipation comes, of course, the chance for great disappointment. Thankfully, there's absolutely nothing to worry about here. Whedon shows in almost every sequence that he knows just what audiences want, the action may be fast and frantic on many occasions but there are many times when the camera is pulled back and viewers are allowed to revel in a moment of sheer fan-pleasing awesomeness (be it simple joy at the scale of the action or an extended shot of Hulk having a smashing time).

2012 is already shaping up to be a great year for BIG cinematic spectacle (I am also drooling with anticipation at the thought of going to see Prometheus and The Dark Knight Rises) and Avengers Assemble has already set a very high bar for blockbuster quality. Did I want to go back and watch it again as soon as the credits rolled? Yes. Am I looking forward to reliving the whole thing on shiny disc format? Yes. Am I already very, VERY eager for a sequel? I think you know the answer to that one.

9/10

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