The Dead Don't Die
The Dead Don't Die
The Dead Don't Die
The Dead Don't Die
Rendező:
Jim JarmuschForgatókönyvíró:
Jim JarmuschOperatőr:
Frederick ElmesSzereplők:
Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA (több)Streaming (1)
Tartalmak(1)
Centerville álmos kisvárosában valami nincs rendben. A holdkorong túl nagynak és közelinek tűnik, a nappali órák kiszámíthatatlanná válnak, az állatok kezdenek szokatlanul viselkedni. A híradások rémisztőek, a tudósok aggódnak, de senki sem sejti, hogy hamarosan milyen különös és veszedelmes csapás sújtja Centerville-t: a holtak kikelnek sírjukból, hogy felfalják az élőket, és a városka lakóinak harcba kell szállniuk a túlélésért. Három rendőr (Bill Murray, Adam Driver és Chloë Sevigny) és egy szamurájkard-forgató skót temetkezési vállalkozó (Tilda Swinton) a frontvonalban találják magukat, és egyesíteniük kell erejüket, hogy legyőzzék az élőhalottakat. (Titanic Nemzetközi Filmfesztivál)
(több)Recenziók (12)
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]
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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%
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Jarmusch on auto-pilot. It’s quite fun, with weird characters that walk, ride and stand in a town affected by a zombie apocalypse, while throwing funny one-liners. But when you see all that talent together, you want more. #KVIFF2019
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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%
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Very weak. Excellent potential, but a purely average result. While some of the individual moments are fine, like all the scenes with Tilda, the rest of the actors behave exactly as the audience likes. It's not enough.
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“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.
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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.
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This is an experimental, intellectually-ironic zombie film from a director who despises standard commercial zombie films, and that’s exactly the way it looks. Deliberately throwing away the rules of the zombie genre and overturning conventions and stereotypes sounds petulant rather than innovative, and the result is a purely anti-entertaining and random-acting film with a deliberately sloppy screenplay full of repetitions and unused characters that only accomplishes exhausted and shallow social satire and a few meta-jokes. What’s more, the film’s pace is slower than the shuffling gait of the wheezing undead, focusing on viewers who will never watch it in most cases because of its chosen theme.
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The Dead Don't Die is my second encounter with Jim Jarmusch after Coffee and Cigarettes, and I have to say that I didn't find the director to my liking in this case either. From the start, the atmosphere of a small, sleepy town in the middle of nowhere is built up quite decently, and to the sounds of the country hit “The Dead Don't Die”, we are introduced to the various inhabitants, with everything slowly but surely leading up to the terrifying invasion of the undead. I thought the film would be laced with floor-to-ceiling black humour, but I found most of the jokes and morbid innuendo dull – the scene that amused me the most was the first zombie attack and the Chardonnay-loving woman beyond the grave. Even the slight allusion to Adam Driver's involvement in Star Wars and the fact that he was driving a Smart Car didn't help matters much. Of all the characters, I was most taken with the mysterious Tilda Swinton, though the ending of her line was very bizarre. I'm sorry, but the (obviously present) charm of Jarmusch's latest effort missed me by a large margin.
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That Jarmusch has taken the reins of zombie horror isn't really all that surprising. It's not the first time he's decided to paraphrase a pure genre film, see Dead Man, Only Lovers Left Alive, or Limits of Control. The problem is that the aforementioned films still managed to exist on their own, allowing their characters to coexist in the distinctive Dada universe where the stories in question took place. The Dead Don't Die is pure and simply a parody of the contemporary mainstream, its characters, practices, exuberant self-reflection, pop culture references, futile attempts at socio-cultural and ecological relevance, and repetition of centuries-old schemas. While the simple method of portraying all these aspects, albeit in a completely unspectacular manner and with actors who alternate dry declamations with unbearable overacting, achieves the desired results in places, it also fails to carry the whole film. The problem is that, unlike Jarmusch's previous films, DDD doesn't contain that distinctive universe where its story takes place and where its events would make some kind of sense. In this way, The Dead Don't Die is really just a pouting poke at the commercial cinematic present, but one that it helps co-create instead of mounting active resistance against it from the barricades of auteur independent film. For as the saying goes: if you're not part of the solution, you're part of the problem. PS: anyway, clearly the best joke of the film is that the naked zombie character is played by the same actress who played the famous naked zombie in the original Night of the Living Dead from 1968. Too bad you can only pick up on that if you read the trivia.
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The American-Swedish movie The Dead Don't Die proves all the good titles for zombie horror movies are probably exhausted. This movie is Jarmusch's attempt at a zombie horror, although he failed. It was an attempt where the most positive thing was that popular actors and singers wanted to be in it because Jim Jarmusch was involved and, unfortunately, that is all the movie has to offer.
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I don't really seek out zombie movie – in fact I tend to avoid them – but in this case the director's name was enough to guarantee me that it would be something more than just a mere killing spree. Fortunately, I wasn't wrong and in the end I quite enjoyed this cruelly parodic statement about the bleak state of the contemporary world, where almost all people constantly succumb tor consumerist cravings like some kind of gluttonous zombies. I was amazed at how masterfully Jim Jarmusch managed to touch so many raw nerves at the end. (75%)
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