Starry ‘Riff Raff’ Falls Incredibly Flat

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In simpler terms, “Dito Montiel’s ‘Riff Raff’ is a film that I found incredibly difficult to watch, not in a way that it’s entertainingly bad, but rather it was genuinely challenging.

Starting with actors like Ed Harris, Bill Murray, and Jennifer Coolidge certainly adds anticipation to a movie. However, it’s all the more disheartening when such a promising cast results in a film that falls short.

In a fresh twist, newcomer Miles J. Harvey takes on both the leading role and narration, portraying DJ – a chatty young man brought up by Sandy (Gabrielle Union), his mother, and Vincent, an older husband (Harris). Over the festive season, their tranquil sanctuary is disrupted when Vincent’s son Rocco (Lewis Pullman) and his pregnant partner Marina (Emanuela Postacchin), along with Vincent’s unconscious ex-wife Ruth (Coolidge), unexpectedly arrive.

It seems that Rocco has found himself in a dangerous situation as he’s being pursued by a menacing gangster known as Leftie (Murray), along with his apprentice, Lonnie (Pete Davidson).

In 2006, “A Guide to Recognizing Your Saints” marked Montiel’s first directorial venture; beyond filmmaking, it’s known that he also instructs screenwriting at UCLA. The issue with the movie “Riff Raff” isn’t its acting but rather the script, penned by playwright John Pollono.

This film appears to be a blend or imitation of numerous movies that preceded it, with elements reminiscent of “Pulp Fiction” (1994), “Fargo” (1996), and “The Ref” (1994), among others.

Riff Raff” resembles one of the numerous crime comedies that emerged in the wake of “Pulp Fiction,” trying to mimic Tarantino’s style. However, not every violent, stylishly “cool” shoot-and-quip movie from the late 90s was subpar.

In contrast, for every “Things to Do in Denver When You’re Dead” released in 1995, there were at least three other movies: “Suicide Kings,” “Feeling Minnesota,” and “8 Heads in a Duffel Bag,” all of which came out in 1996 and 1997.

As a cinephile, I must admit, what Quentin Tarantino achieved wasn’t a walk in the park; he simply made it seem effortless. The countless imitators who followed only served to underscore the near-miraculous nature of “Pulp Fiction.” Frankly, most of the content that crossed its path was downright terrible.

Given the author’s background, it’s understandable that “Riff Raff” feels like a stage production. However, portraying it as an unbearable evening of poor theater isn’t ideal compared to the excellent presentation it receives here. The actors bring the material to life, but Pollono maintains his story in a steady, balanced state.

Everyone present is giving performances that remind me of their prior work.

Coolidge often delivers lackluster performances with occasional offensive outbursts, a role she executed more effectively in Werner Herzog’s “Bad Lieutenant: Port of Call New Orleans” (2009). Harris, on the other hand, has delivered much more compelling portrayals of men grappling with a slow-burning crisis. Coolidge deserves roles that showcase her talents better than this one.

In a more challenging part than typical for him, Pullman impresses, yet there’s an uncanny resemblance to the humorous portrayal of a similarly reckless criminal his father, Bill Pullman, once enacted in “Ruthless People” (1986).

The terrifying depiction of a genuinely menacing character by Murray is the main draw of this film, and he was equally chilling in a similar role for the underappreciated “Mad Dog & Glory” (1993). Scenes featuring Davidson and Murray made me yearn for them to star together in a superior movie, rather than their brief appearances here adding an element of fear.

Among the notable performances in the ensemble, Michael Covino delivers a compelling portrayal of Leftie’s deeply corrupt son. However, it should be noted that his scenes, much like those of the flashbacks, are not strictly essential to the storyline.

In the third act, when the entire cast gathers in a shared setting, everything should start to make sense, but instead, it becomes increasingly unpleasant. The conclusion is disappointingly empty, and the intended message about troubled family dynamics also falls flat.

Besides an intermittent visual segment that frequently pauses the flashback due to DJ’s guidance on using the stove, I didn’t find anything amusing about it. The music by Adam Taylor echoes Howard Shore’s rhythmic timepiece melody from Martin Scorsese’s “After Hours” (1985), which was a movie I wished I could have been watching instead of this one.

Last year’s premiere of “Riff Raff” at the Toronto International Film Festival received a mix of opinions and didn’t make it to the award-focused winter season. If a movie with such a talented cast fails to secure a spot in the Oscar race, take that as a potential red flag.

Here’s another one – I love most of the actors in this but will never watch “Riff Raff” again.

One Star (Out of Five)

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2025-02-28 22:03