Tag Archives: RZA

Holiday Road

Nobody 2

by Hope Madden

Hutch still has trouble getting the trash out on time, but other than that, his life is considerably different than it was four years ago when Nobody turned Bob Odenkirk into an action star and Odenkirk turned the film into the most watchable riff on John Wick ever.

Hutch’s wife Becca (Connie Nielsen) has accepted her husband’s line of work, but that doesn’t make it any easier that he is never home. Where once he was the center of his household, now he watches from the curb, garbage bag in hand, as each member of his family goes their own way without him.

Not today! Nope, Hutch is going to take his family to the very spot that meant so much to him as a kid: Summerville. It’s a water sliding, amusement parking, duck-boat riding Midwest tourist trap where nothing could possibly go wrong.

Unless this is a sequel to a fun “particular set of skills” actioner, which it is, so instead Hutch and his family stumble into a duck-boatload of trouble.

Director Timo Tjahjanto, known mainly for Indonesian folk horror, directs this with a cheery energy that may not match Ilya Naishuller’s original in terms of action, but it does the job.

Odenkirk still cuts a funny figure as an action star, and he makes Hutch’s longing for a nice, normal family feel sad and sweet.

Nielsen continues to impress in an underwritten role, and Sharon Stone lends some fun villainy, although both are hampered by the script. Derek Kolstad, working this time with Aaron Rabin, has no idea how to write women because he is so hyper-focused on the fact that these characters are women. We don’t always have to refer to our gender when we speak. No one needs to call themselves a bitch or a mama bear. It’s just a lazy man (or two) not working very hard to craft actual characters.

Still, supporting work from John Ortiz, RZA and Colin Hanks helps to offset the problem, and the whole she-bang ends in a cheap amusement part, which is undeniably fun.

Plus, who doesn’t want to see Christopher Lloyd with a Tommy gun? Isn’t that what summer is all about?

Ghouls

The Dead Don’t Die

by Hope Madden

Indie god and native Ohioan Jim Jarmusch made a zombie movie.

If you don’t know the filmmaker (Down by Law, Ghost Dog, Only Lovers Left Alive, Paterson and so many more jewels), you might only have noticed this cast and wondered what would have drawn Bill Murray, Adam Driver, Tilda Swinton, Chloe Sevigny, Steve Buscemi, Rosie Perez, RZA, Caleb Landry Jones, Danny Glover, Tom Waits, Iggy Pop and Selena Gomez to a zombie movie.

It’s because Jim Jarmusch made it.

Jarmusch is an auteur of peculiar vision, and his latest, The Dead Don’t Die, with its insanely magnificent cast and its remarkably marketable concept, is the first ever in his nearly 30 years behind the camera to receive a national release.

Not everybody is going to love it, but it will attain cult status faster than any other Jarmusch film, and that’s saying something.

He sets his zombie epidemic in Centerville, Pennsylvania (Romero territory). It’s a small town with just a trio of local police, a gas station/comic book store, one motel (run by Larry Fassenden, first-time Jarmusch actor, longtime horror staple), one diner, and one funeral home, the Ever After.

Newscaster Posie Juarez (Rosie Perez – nice!) informs of the unusual animal behavior, discusses the “polar fracking” issue that’s sent the earth off its rotation, and notes that the recent deaths appear to be caused by a wild animal. Maybe multiple wild animals.

The film never loses its deadpan humor or its sleepy, small town pace, which is one of its greatest charms. Another is the string of in-jokes that horror fans will revisit with countless re-viewings.

But let’s be honest, the cast is the thing. Murray and Driver’s onscreen chemistry is a joy. In fact, Murray’s onscreen chemistry with everyone—Sevigny, Swinton, Glover, even Carol Kane, who’s dead the entire film—delivers the tender heart of the movie.

Driver out-deadpans everyone in the film with comedic delivery I honestly did not know he could muster. Landry Jones also shines, as does The Tilda. (Why can’t she be in every movie?)

And as the film moseys toward its finale, which Driver’s Officer Ronnie Paterson believes won’t end well, you realize this is probably not the hardest Jim Jarmusch and crew have ever worked. Not that the revelation diminishes the fun one iota.

Though it’s tempting to see this narrative as some kind of metaphor for our current global political dystopia, in fairness, it’s more of a mildly cynical love letter to horror and populist entertainment.

Mainly, it’s a low-key laugh riot, an in-joke that feels inclusive and the most quotable movie of the year.