Movie Review ~ The Dead Don’t Die

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The Facts
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Synopsis: The peaceful town of Centerville finds itself battling a zombie horde as the dead start rising from their graves.

Stars: Bill Murray, Adam Driver, Chloë Sevigny, Selena Gomez, Iggy Pop, Caleb Landry Jones, Carol Kane, Danny Glover, RZA, Austin Butler, Rosie Perez, Tilda Swinton, Steve Buscemi, Tom Waits

Director: Jim Jarmusch

Rated: R

Running Length: 105 minutes

TMMM Score: (4/10)

Review: It isn’t often a movie about a zombie apocalypse gets a premiere at the fancy Cannes Film Festival but if you are director Jim Jarmusch you’ve earned a certain amount of street cred.  The famously indie auteur has been operating since 1980 and has delivered numerous cult faves, many of them originally received as complicated misfires.  Given it’s subject matter, starry cast, and B-movie aura, I’d imagine The Dead Don’t Die will join those cult classic ranks but you won’t find me lining up to see a midnight screening of this one anytime soon.  I had trouble enough staying awake during a daytime viewing.

Look, I’m about zombie-d out by this point and I don’t care who knows it.  I don’t watch The Walking Dead, I avoid all of the straight-to-streaming zombie flicks, I’ve long since sold-off any zombie video games I owned, and I keep my distance from television shows with a zombie premise.  I just think we’re moving on to different things by this point and the whole metaphor linking zombies to mass consumerism is entirely passé.  All I need to do is watch George Romero’s 1978 classic Dawn of the Dead and my craving for brainy material is satiated. (Heck, even Warm Bodies, the zombified Romeo & Juliet will do just fine if you don’t like the hard horror stuff.)  It’s so strange to me that Jarmusch, who has been on a critical uptick the past few years starting with the fascinating vampire tale Only Lovers Left Alive in 2013, would find himself wanting to draw inspiration from this well.

Not much happens in the sleepy town of Centerville, OH.  As the film opens, Chief Cliff Robertson (Bill Murray, Aloha) and Officer Ronnie Peterson (Adam Driver, Midnight Special) are traveling out to find Hermit Bob (Tom Waits, The Old Man & the Gun), thinking that he stole a chicken from Farmer Miller (Steve Buscemi, Hotel Transylvania 2).  That’s the extent of the excitement going on until the Earth starts to experience a strange phenomenon caused by polar fracking and a shifting on its axis.  It’s this event that causes the town to lose almost all connection with the outside world and for the bodies in the cemetery to start inexplicably rising from their graves and feasting on the unsuspecting townspeople.

The next several days are captured in small vignettes of varying degrees of success from the large ensemble Jarmusch has assembled.  What Jarmusch does exceedingly well is attract top talent to his film and this is another example of an over-abundance of familiar faces popping up when you least expect it.  In addition to our two lead cops, there’s Chloë Sevigny (The Snowman) as another weary officer not used to so much action in town, Caleb Landry Jones (The Florida Project) and Danny Glover (Monster Trucks) playing store owners who barricade themselves inside a hardware shop to fend off the walking dead, and Rosie Perez (Won’t Back Down) playing an informative newscaster named, wait for it, Posie Suraez.  Though many of the cast have worked with Jarmusch before, the only one that really feels like they know what movie they are in is Tilda Swinton (Suspiria) as the town’s new mortician who takes a methodical slice and dice approach in handling the undead.  Some cast members come off as lackadaisical in their approach, which is very Jarmusch in style, but Swinton knows how to pitch that aloofness into something that makes you curious to know more.

Though it gives way to full blown horror in its final stretch, much of the film is paced and pitched at a low boil. There’s so much effort put into the set-up and an absurd amount of characters repeating back the same information on what’s going on to newcomers. Always one to look a little askew at midwestern America, it’s no surprise Jarmusch has cast the townspeople as a bunch of oddballs who get even stranger when death comes knockin’. For pure comedic effect, Jarmusch’s zombies rise up not just with a craving for human flesh but harboring the same obsessions they had when they were alive.  One zombie cries out for chardonnay, another asks Siri a question and these moments of levity are fun at first but begin to become as repetitive as some of the dialogue.  In a bit of supposed extra fun, Jarmusch has Driver and Murray break the fourth wall several times, often commenting as themselves…which might be interesting if they didn’t come off as just riffing off each other between takes.  I’m all for going meta if you can see it through but this continually fell flat.

What was so great about Jarmusch’s take on vampires in Only Lovers Left Alive is that he found an interesting angle into the story which allowed him to craft memorable characters within that framework. In The Dead Don’t Die, there’s no real easy way into a genre that’s been explored to the fullest if you don’t have anything new to add to the conversation.  Even when the tone switches to all-out horror there’s little tension created, and the production isn’t helped by hokey special effects and make-up meant to be impressive that’s hard to see in the dark.  What’s left is a pack of good actors stumbling around for 105 minutes with little to show for their effort.  The film may boast the “the greatest zombie cast ever disassembled” but it just doesn’t come together in the end.

Movie Review ~ Django Unchained

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The Facts:

Synopsis: With the help of his mentor, a slave-turned-bounty hunter sets out to rescue his wife from a brutal Mississippi plantation owner.

Stars: Leonardo DiCaprio, Jamie Foxx, Christoph Waltz, Samuel L. Jackson, Gerald McRaney, Dennis Christopher, Laura Cayouette, M.C. Gainey, Don Johnson, Kerry Washington,

Director: Quentin Tarantino

Rated: R

Running Length: 161 minutes

Trailer Review: Here

TMMM Score: (8.5/10)

Review:  If you’re headed into a Tarantino film chances are you are expecting certain mainstays: coarse language, outrageous violence, non-linear storytelling, an eclectic soundtrack, and Samuel L. Jackson.  This holiday season, right in time for Christmas, Tarantino is releasing his latest epic yarn that thankfully gives his audiences/fans exactly what they’ve come for – amped up a few notches.  Django Unchained is one of Tarantino’s most enjoyable films, one that takes the standard spaghetti western and gives it a nice bristle brush scrubbing thanks to an assured bravado most filmmakers today wouldn’t dare to employ.

Beginning in 1858, Tarantino opens his film with slave Django (Foxx) trudging along in chains through a desolate landscape after being sold at auction.  A superlative theme song and the director’s trademark bold titles establish that the movie is operating in a slightly altered reality, though it is set in the heart of a country on the brink of civil war.  This was the age of slavery and the film pulls no punches in how black men and women were treated, painting a fairly revolting picture on the way. 

All hope seems lost for Django until a bounty hunter by the name of Dr. King Schultz (Waltz) waltzes into his life and changes his path from plantation to salvation.  Schultz needs Django to help identify a trio of wanted men…and in exchange he will give him his freedom and a split of the earnings.  When this initial bounty hunt show promise, the men decide to team up for a winter until Django can return to Mississippi and find his wife (Washington). 

The first half of the picture is really a breezy buddy film as Django and Schultz make a killing (har har) tracking down the men that are wanted dead or alive.  In between scenes of gruesome violence/vengeance there are some solid exchanges that Foxx and Waltz work wonders with.  Waltz still shines from his Oscar winning turn in Tarantino’s Inglourious Basterds and returns in another memorable performance here in a role tailor-made for him.  I often find Foxx to be a little overrated but his work as Django is exciting and commendable – starting off as a man with spirit but without hope, you gradually see the life reentering his body as his friendship with Schultz thickens and a reunion with his wife draws nearer. 

It’s about halfway through the movie that things take a curious, but no less interesting, turn as Schultz and Django set their sights on finding the location of Django’s wife Broomhilda von Shaft (just one of the memorable character names  along with Jinglebells Cody, Tennessee Redfish, Chicken Charlie, and Lara Lee Candie-Fitzwilly).  Information comes to them that Broomhilda or “Hildy” is now the property of one Calvin Candie (DiCaprio)…a silver spoon fed plantation owner Django and Schultz must outsmart if they are to save the girl and make it out alive.

The final act of Django Unchained plays out in Candie Land, and it in and of itself could have been expanded into an entire film thanks to some fascinating dialogue from Tarantino, scenes of violence that are both hysterical and horrifying, and a troupe of actors doing some very brave work when you consider their previous film roles.  It’s touchy subject matter but instead of shying away from it, Tarantino encourages all involved (the audience included) to go with it and stay engaged. 

Some early reviews of the film criticized Django Unchained for being too talky and long but I found it to be easier to get through than Inglourious Basterds (which I also liked).  This is probably because the nearly three hour film is episodic in nature so it just has a natural flow from one adventure to another. 

In typical Tarantino fashion, the violence is surreal, stylish, and in your face.  Nearly everyone comes face to face with a bullet at some point and they do one of two things: go quietly or die in screaming agony as the blood drains from them.  It’s gory and grotesque but there’s something definitively cinematic about it that keeps it from feeling too exploitative. 

Though Tarantino packs his film with more recognizable character actors than I’ve seen in any film recently (including Ted Neely – the Jesus Christ Superstar of stage and screen), the leads carry the film with ease.  In addition to the strong work from Waltz and Foxx, you have Washington playing the physically and emotionally taxing role of Django’s wife with beautiful confidence and Johnson as a Colonel Sanders looking plantation owner resisting the urge to be a cartoon.  Johnson in particular has a riotous passage with would-be Klansmen that wind up fighting over the sacks they wear over their head.  It’s a wonderful scene courtesy of Tarantino that gets the audience laughing at the bigoted bickering.

DiCaprio finally figures out the formula to turning in an award-worthy performance: be a supporting player.  Though many have cried foul that DiCaprio hasn’t received the award recognition he deserves over the years, I’d say that he really hasn’t truly earned it in any picture up until this point.  Here, in a large supporting role, he does his best work in ages as a vicious southern brat that has the tables turned on him in royal fashion.

Though much of the pre-release Oscar buzz has been for DiCaprio, I’d argue that the best performance in the film belongs to Jackson as DiCaprio’s head slave.  As slyly evil a character as I’ve seen Jackson play, he goes all out in the vile department without tipping the scales to farce.  I actually didn’t recognize Jackson the first few frames of the film he’s in, but once it sunk in and the audience saw him…it truly was his picture to steal and that’s exactly what he does.  If DiCaprio is to receive an Oscar nomination (as he probably will) here’s hoping that Jackson gets one as well.

The movie has about four endings and as the third hour was approaching I do admit that I was ready for the film to end.  Tarantino just can’t leave well enough alone (or resist a personal and oddball cameo) and while the ending was satisfying and felt right, I also wouldn’t have minded if it had said its goodbye twenty minutes prior.  That may not have worked for some audiences that demand explanation or a true wrap-up…but it would have made the ending of the film feel as special as the proceeding two and a half hours.

Tarantino has done wonders with this genre…turning the Western picture into what he’s called a Southern.  It’s a fast, funny, ferocious affair and it’s either going to send you out of the theater dazed and amazed or dazed and confused.  I thought it was a splendid film for mature audiences and wouldn’t mind putting it on my end of the year Best of lists.