Quick Synopsis: A baffling death inside a quiet church draws Benoit Blanc into a tense investigation where faith secrets and suspicion blur as a close community turns against itself.

I should note that this will be my last review of 2025. To be honest, I just couldn’t be bothered to go see Anaconda, and Marty Supreme wasn’t available for viewing at my local cinema until 2026. Plus, it feels right to end 2025 on this movie. A few weeks ago, I was discussing the end-of-year awards with someone, and I mentioned the potential winners for “best film”. I narrowed it down to a list of five, but added “There’s a gap left for the new Knives Out”. In a year of uncertainty, I was certain it would reach that. So it’s weird that I don’t think it has matched my expectations. It’s not a bad film; it is still amazing, but it does feel like a slight downgrade from the two previous entries. It does improve on a second watch, but the initial feeling of slight disappointment doesn’t leave.

The main issue is that there’s very little Benoit in this Benoit movie. He doesn’t appear for 40 minutes. Now, Jud is a good character, played brilliantly by Josh O’Connor. But he’s not Benoit Blanc, so you do spend the time waiting for him to arrive. The lack of Benoit does break with tradition somewhat, but other than that, it stills to the formula pretty well; someone is dead, there’s a cast of characters all played by phenomenal actors, there’s a picturesque location, Blanc teams up with someone who is kind and very good at their job, plus there’s some weirdness.

I have no complaints about that. The formula works, so breaking it just for the sake of breaking the formula would feel silly. It does make me feel a bit sad that we won’t get to see some of these performers in another Knives Out movie; Jeffrey Wright, in particular, feels underutilised. Cailee Spaeny continues to be absolutely fantastic in everything she does. Josh O’Connor is good enough that it only took roughly 10 minutes for my brain to stop going “Is that Ralph Little?”.

The world-building of these movies frustrates me. On the one hand, it is great that they reference cases we haven’t seen; it makes it feel like the character exists outside of this universe. On the other hand, the two cases we have seen would be pretty high profile; one involved the death of a world-famous author, and the other involved an Elon Musk proxy. You’d think that would have come up in this. The right-wing influencer definitely would have asked Blanc about Miles Bron, and a best-selling author would definitely ask about Harlan Thrombey. I’m not asking for the entire film to revolve around the previous entries, but it would be interesting to see Blanc dismiss their questions as he’s too focused on the current case. Also, the first movie had Martha vomiting on Chris Evans, Glass Onion had the moment where everyone smashes shit up. Both of them are moments which are highly cathartic and entertaining, moments which you can point to as highlights of the year. There’s no equivalent in this. There’s no moment which stands out as being a highlight.

I do genuinely love this movie; it’s a solid 9/10 at the very least, but the others are so close to perfection that you can’t see this as anything other than a downgrade. Like the other two entries, it does NAIL the closing, though. It’s definitely the best Netflix movie of the year, but when their other efforts have included “Kinda Pregnant”, that’s not a high bar to clear.