Sermon for February 15th, 2026
Contents
Ephesians 5:6-14
6 Let no one deceive you with empty words, for because of these things the wrath of God comes on those who are disobedient. 7 Therefore do not be associated with them. 8 For once you were darkness, but now in the Lord you are light. Live as children of light— 9 for the fruit of the light is found in all that is good and right and true. 10 Try to find out what is pleasing to the Lord. 11 Take no part in the unfruitful works of darkness, but instead expose them. 12 For it is shameful even to mention what such people do secretly; 13 but everything exposed by the light becomes visible, 14 for everything that becomes visible is light. Therefore it says, ‘Sleeper, awake! Rise from the dead, and Christ will shine on you.’
Faith & Film XIV: Wake Up Dead Man
- Film Clip #1: Trailer
Three Minute Film "Summary"
Typically at this point in the sermon, I like to give a brief summary of the plot for the benefit of those who have not yet seen the film. I’m going to do that today, but with a slight modification: This is the first “murder mystery” I’ve ever preached on, and since the “whodunnit” question is a pretty big part of the genre (and the resolution to this one is very satisfying, both in a spiritual and literary sense), I’m going to summarize roughly the first two thirds of the film, but I’m not going to spoil the ending for you. Here goes…
The film opens by introducing us to Father Jud Duplenticy, a former boxer turned Catholic priest, whose temperament is still never far from the surface. After a messy incident with a deacon, Jud is reassigned to a struggling rural parish in upstate New York called Our Lady of Perpetual Fortitude. It is the sort of place that feels half-forgotten by the modern world, and maybe half-forgotten by God, too.
Jud arrives to find a church held together by habit, pride, and a few loyal hands. The parish is overseen by Monsignor Jefferson Wicks, a divisive, magnetic preacher who seems to thrive on stirring things up. Their relationship is tense from the start, and it quickly becomes clear that this congregation has been living for a long time with old wounds, old rumors, and old money that may or may not still be hidden somewhere close by.
Then comes the moment the trailer promises. During a Good Friday service, Wicks collapses in a small closet adjoining the chancel, and he is discovered with what appears to be a knife in his back. The circumstances make the crime feel “impossible,” and because it happens in church, in the middle of worship, with everyone present, the suspicion spreads instantly—and it spreads fast.
Before long, Benoit Blanc arrives, the suspect list forms, alibis harden, and the church community becomes a pressure cooker of gossip, resentment, and self-justifying words. Everyone has a story. Everyone has a secret. And everyone is convinced that if they can just control the explanation, they can control what comes next.
And that is about where I am going to stop. Because the investigation that follows is clever, and the turns it takes are genuinely satisfying. But I want you to experience the final movement the way the filmmakers intend: not just as an explanation, but as a revelation.
