A holtak nem halnak meg

Jarmusch úgy írta meg a karaktereket, hogy azok illeszkedjenek ikonikus szereplőgárdájához, hagyta, hogy hülyéskedjenek és humorosan mimóza módjára reagáljanak arra, amit a zombis horrorfilmekből ismerünk. Titokzatos gitárgriffek hangjaira, mint a Halott emberből, de kicsit ütemesebb tempóban, erdőben élő Tom Waits-sel, aki távolról figyeli a világvégét, kifejezetten Iggy Pop számára szánt zombiszerepben, aki a házvezető frissen kivett, véres beleit az áldozat kávéfőzőjében készített kávéval öblíti le, ne feledkezve meg a műfaj fiatal stréberek lelkesedéséről és éleslátásáról sem. A Murray/Driver zsaruk között lévő rokonszenves haveri kémia, a Jarmusch-féle drámahősök két generációját képviselve. Kellemes kikapcsolódás, meglepően teli vérrel, semmiben sem úttörő, de ismerős dolgok alternatív megközelítésével. A megrögzött Jarmusch-rajongóknak, akik minap még az Éjszaka a Földön "kommersz mivolta" miatt háborodtak, ez egy újabb Jim szünet lesz. És hogy az Universal profitot fog-e termelni a multiplexekben, hát nem tudom - a popcornos fiatalok számára a sok áldozat ellenére, és minőségi CGI miatt túl régimódi és nem eléggé dinamikus, a Jarmusch-gyerekek pedig oda nem járnak. [Cannes] (2019.05.15)

“Cooofffeee..." A great comedy, but it’s certainly not for everyone. Jarmusch doesn't deny himself, and so the humor is drier than dry, but if you're on his wave, it's irresistible at the same time, and from start to the very end, the film offers one opportunity after another to burst out in laughter. Bill Murray and Adam Driver are absolutely amazing, and the apathy with which everyone involved approaches both the causes and consequences of the zombie apocalypse is irresistible, just like Iggy Pop as the best undead character that a film screen has ever hosted. (2019.07.05)

As long as Jim Jarmusch is pouring all sorts of pop culture references to classic horror (and other) movies and filmmakers into his work, he is knowingly winking at modern trends (like the WUPS delivery company), or almost breaks down the fourth wall between the viewer and what is going on in the movie, it is frankly hilarious. However, if the audience asked Jim for some interestingly written and compelling characters or a plot that makes at least a little sense, they would be disappointed. Not to mention that J.J. recapitulates the "Romero" critique of consumerist society too literally - over and over again. The Dead Don't Die is definitely an entertaining movie you can have a good time with at the movie theater, but there is no miracle here this time, and I had such high hopes with Jarmusch. (2019.07.07)

The talented Jim Jarmusch serves up a zombie comedy with a perfect cast, it feels like all the money was spent on the actors, but not much left for the film itself. It has rather ugly visuals, a very slow pace (slower than zombies), almost no gore, minimal tension and atmosphere, and the only thing that sort of works are the jokes, but even those don't wake you up from your micro-sleep. The director knew that a lot of people would be bored, so he snuck in at least a few movie references to keep the audience entertained. Didn’t like it. 40% (2019.09.05)

The Dead Don’t Die is a slow, hipster zombie satire based on repetition of the same jokes and situations which constantly makes fun of the fact that it is a slow, hipster satire based on repetition of the same jokes and situations. It sometimes works very well, sometimes not so much. In the context of Jim Jarmusch’s earlier genre deconstructions, the film is inspiring (not only are genre conventions exaggerated, but are also commented upon by the actors, who step out of their roles and express their opinions on the screenplay) thanks to a cast that has superbly mastered deadpan humor and numerous references to (Romero’s) zombie horror movies and other old films (a headstone with the name Samuel Fuller inscribed on it) and it is fairly entertaining throughout its running time. The film is neither a summer hit nor the peak of Jarmusch’s filmography (it is sloppy especially visually and in the interconnection/variation of individual motifs), where The Dead is found in the paradoxical position of a film that is simultaneously his least and most serious work (the planet is in a state of decay and in order for it to regain its balance, humans will have to get out of the way), but I rather imagine it is not the absolute failure that the responses from Cannes warned against. 75% (2019.06.27)