Film Review: The Dead Don’t Die

Jim Jarmusch’s zombie comedy The Dead Don’t Die is not quite as satisfying as the package suggests. Nevertheless, there is still plenty to enjoy. 

Cliff is police chief of the small town of Centerville. When strange occurrences take place, Cliff and his officers try to figure out how to protect the town and its residents…

Written and directed by Jim Jarmusch, The Dead Don’t Die is probably the most star-studded zombie film ever made. From the main roles to minor characters, the film is populated with well-known faces. On the surface, the offering is most enticing. A zombie film with a focus on comedy, combined with the filmmaker’s offbeat appeal. 

The narrative begins well. The film introduces main characters and supporting characters, as well as the locale, in an interesting fashion. The humour is pretty effective as the narrative unfolds. The camaraderie between Cliff and Ronnie in particular a joy to watch. There is some on the nose social commentary, yet this is not unexpected.

The narrative builds towards the inevitable. Yet it also offers potential heroes in the ramshackle group of individuals in the small town. The film actually is less interesting with the increase of undead presence, oddly enough for a zombie film. Jarmusch chooses not to follow an obvious route however. Instead, The Dead Don’t Die offers a few unexpected moments before reaching its conclusion. 

The only issue with The Dead Don’t Die is that the second half feels like it has run out of steam. The jokes do not land as well, with a second fourth wall-breaking joke feeling flat. Whilst more gore was definitely not a requirement, some of the characters are completely underused. 

Several previous Jarmusch collaborators appear. Adam Driver and Bill Murray are as good value as ever, work well with Chlöe Sevigny. Tilda Swinton is great, while Caleb Landry Jones, Danny Glover, and Steve Buscemi are on good form. Production values are good, particularly makeup. 

The Dead Don’t Die is only a little disappointing given how much promise the film had. The film is still an enjoyable watch. 

Film Review: Three Billboards Outside Ebbing, Missouri

Martin McDonagh’s black comedy drama Three Billboards Outside Ebbing, Missouri is well-written, well performed, and thoroughly engaging.

After months have passed since the murder of her daughter, Mildred Hayes is angry with the police’s lack of action. She takes out billboard adverts calling out the police chief, and gets everyone attention…

Written and directed by Martin McDonagh, Three Billboards Outside Ebbing, Missouri has the same brand of dark humour that viewers may expect of the filmmaker. The film also has genuinely heartfelt moments. The film is about grief and acceptance, but it has a remit that goes beyond this.

Set in a small town, Three Billboards Outside Ebbing, Missouri touches upon a number of aspects. Predominantly it is a film about Mildred’s search for justice, and her grief. Furthermore, a strand focuses on journey for Officer Dixon. It also speaks about police and their role in the community, albeit in a light-touch manner.

The narrative unfolds at a good pace. It is hard to predict where the film will go. Mildred’s desire for justice is always depicted in a sympathetic light, even when her methods are eyebrow raising. McDonagh’s film was never going to conclude in a neat way. The very end of the film projects a theme that runs throughout. This is partly a nihilistic futility, and partly a nod to the fact that things in life are often open-ended. However, this does not make the film bleak. There is Dixon’s journey broadly positive, for example, and there are elements of resolution to Mildred’s story too.

Performances in the film are excellent. Frances McDormand delivers a strong performance that is humorous, sympathetic, and sincere. Sam Rockwell is also excellent, as is Woody Harrelson. Good support is provided from Caleb Landry Jones and John Hawkes. The cast have an excellent screenplay to work with. The dialogue is great, and always appears natural.

Three Billboards Outside Ebbing, Missouri is not McDonagh’s magnum opus, but is it still very a well made and immensely watchable picture.

Three Billboards Outside Ebbing, Missouri is closing the BFI London Film Festival on 15th October 2017.

Previews: Dunkirk Poster, Baby Driver, More!

Plenty in this week’s preview of coming attractions, including the latest Dunkirk poster, plus Baby Driver, American Made, and more…

Dunkirk Poster

Here is the latest Dunkirk poster. Writer-director Christopher Nolan turns his attention to the war movie, after excelling in a number of other genres. The film stars Tom Hardy, Mark Rylance, Cillian Murphy, and Kenneth Branagh. Dunkirk hits cinema and IMAX screens on 21st July 2017.

Baby Driver Clip

This clip sheds light on the central character in Edgar Wright’s upcoming Baby Driver. Starring Ansel Elgort, Jamie Foxx, and Lily James, the film is about a getaway driver who wishes to leave his criminal life behind. Baby Driver is out in UK cinemas on 28th June 2017.

American Made Trailer

Tom Cruise reunites with Edge of Tomorrow director Doug Liman for American Made. The film is based on the real-life exploits of pilot Barry Seal, who is recruited by the CIA to run a covert operation. Also starring Domhnall Gleeson, Sarah Wright, and Caleb Landry Jones, American Made is due for release on 25th August 2017.

Goodbye Christopher Robin Poster

Here is the new poster for Goodbye Christopher Robin. The film is based on the family who created one of the world’s most beloved bear, Winnie the Pooh. It revolves around the relationship between writer A.A. Milne and his son Christopher. Starring Domhnall Gleeson, Margot Robbie, and Kelly Macdonald, Goodbye Christopher Robin will be out in cinemas on 29th September 2017.

Murder on the Orient Express Trailer

This trailer for Murder on the Orient Express looks sumptuous. The film looks to have one of the most star-studded casts of the year, with Penelope Cruz, Johnny Depp, Michelle Pfeiffer, and Judi Dench among some of the passengers on the fateful train. Director Kenneth Branagh stars as famous detective Hercule Poirot; comparisons to David Suchet will be inevitable. Based on one of Agatha Christie’s most famous novels, Murder on the Orient Express is set for release on 3rd November 2017.

Film Review: Byzantium

Neil Jordan’s Byzantium is superb. Gothic mores are placed centre stage in this vampiric tale.

Clara and Eleanor move from place to place; their lifestyles meaning it is tricky to stay in one location for too long. Whilst Clara is more concerned about finding a new home, Eleanor is desperate to tell the story she has held on to for a very long time…

Director Neil Jordan was the perfect choice to execute Moira Buffini’s story. There are definite parallels between Byzantium and Jordan’s earlier Interview with the Vampire: The Vampire Chronicles. Byzantium also concentrates on the detractions of immortality rather than the violence of vampirism. This is not to say, however, that there is a lack of blood.

Byzantium is a very absorbing film. The sense of mystery is potent. Combined with the interesting characters and well-crafted narrative, it makes the film an engaging view. Pacing in Byzantium is good. The narrative is executed finely, feeding the audience Eleanor’s tale bit by bit. Some of the reveals are quite predictable, but this not detract from the overall enjoyment.

Vampire lore is employed and subverted in Byzantium. In spite of the modern setting, hallmarks of the gothic remain in the landscape of the dreary towns and space which Eleanor inhabits. This plays into the overall theme of loneliness.

Jordan’s direction is solid in both the frenetic moments and the more pensive scenes. There is some nice composition throughout the film. Effects are good for the most part; the film is only let down by some artificial-looking colouring.

Performances in Byzantium are strong. Caleb Landry Jones stands out in particular, while Saoirse Ronan is excellent casting as Eleanor. Gemma Arterton is also decent as Clara.

Byzantium is a worthy addition to the vampire canon. The film pays homage to its predecessors whilst putting its own spin on proceedings.

Film Review: Antiviral

Brandon Cronenberg carries on his father David’s tradition of science fiction/body horror with Antiviral. At times uncomfortable viewing, the film nevertheless compels.

Syd Marsh works in a clinic which sells injections of viruses harvested from sick celebrities to obsessed fans. Syd also supplies vials of these to pirate groups, smuggling out the infections in his own body. When he becomes infected with the virus that has debilitated superstar Hannah Geist, Syd becomes a wanted commodity…

The premise of Antiviral, which was written and directed by Brandon Cronenberg, is great. The film takes celebrity worship to the extreme with an interesting and unusual tangent. The film does not seek to make a strong point or complex allegory with its theme. There is no deeper ponderance on celebrity culture than what is on the surface. However, this does not matter as Antiviral in finely executed.

Antiviral works as a science fiction/body horror piece. Taking cues from his father, Brandon Cronenberg has created an uneasiness that is protracted. The theme and imagery create a distinctive atmosphere. Clinical and dystopian, there is nothing about the film that feels comfortable. The at direction is a powerful force in Antiviral. The imagery displayed is sometimes difficult to look at. The film combines the visceral with the clinical. Cronenberg’s film is certainly not recommended for those with a fear of needles.

Casting in the film is on point. Caleb Landry Jones appears completely authentic as protagonist Syd March. He really does look sick as the film progresses, which is also thanks to the make up and effects. Sarah Gadon looks every inch the celebrity as the much desired Hannah Geist.

Antiviral is a promising debut feature from Brandon Cronenberg. Fans of his father’s work should approve.

Antiviral is being screened at the London Film Festival in October 2012.