The Dead Don't Die

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% (06/27/2019)

Jarmusch wrote the characters to fit his iconic cast, letting them make off-base comments and humorously react to what we know from zombie movies. Accompanied by mystical guitar riffs such as those used in Dead Man, but at a slightly brisker pace, with the forester Tom Waits observing the end of the world from a distance, a pure zombie role for Iggy Pop, who washes down the freshly bitten off bloody guts of a housekeeper with coffee from her coffee machine, not forgetting the passion and broad knowledge of young genre geeks. There is nice buddy chemistry between the cop duo of Murray and Driver, who represent two generations of Jarmuschian dramedy heroes. A pleasant chill-out movie with surprisingly full-fledged gore, The Dead Don’t Die is not groundbreaking in any respect, but still offers a refreshing take on well-used tropes. For the stalwart Jarmusch fans who once pursed their lips at the “commercialism” of Night on Earth, it will be another on of Jim’s “breaks”. I’m not sure, though, if it’s going to earn anything for Universal in the multiplexes - the body count is abundant and the CGI high-quality, but the popcorn-devouring youth might still find the whole movie overly traditional and not dynamic enough, while Jarmusch fans just don’t go to multiplexes. [Cannes] (05/15/2019)

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. (07/07/2019)

I had only seen Ghost Dog by Jarmusch before, but I know he has earned a wide range of fans with his unconventional approach to filmmaking. However, he had never tackled a zombie film until now, so I decided to give it a chance. The cast is undoubtedly the biggest draw for viewers. The central duo of Bill Murray and Adam Driver had great chemistry, exchanging well-crafted lines for most of the film. Tilda Swinton, with her crazy role as a Scottish samurai warrior running a funeral home (I mean, who comes up with this stuff...), was also a highlight. The casting for the supporting roles clearly showed that the filmmakers put a lot of effort into it. The plot truly stands out from the usual and well-worn storylines, combining a ghastly apocalypse with remnants of modern civilization (for example, the scenes where the undead march while mentioning Wi-Fi, coffee, or Siri are genuinely hilarious). While it offers decent action, the ending was excessively over the top. I’m not sure what Jarmusch intended, but it simply went too far. To sum it up, besides the fantastic actors, the film also relies on a good dose of humor. There are numerous entertaining moments (like the discussions about the script). And one more thing... today, I experienced a laugh-out-loud moment in a movie theater for the first time (Adam Driver as a cop arriving at the scene in his red Smart car... honestly, I was laughing about it for a long time). I give it 74%. (07/08/2019)

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. (10/05/2020)