‘Riff Raff’ Review: Jennifer Coolidge, Bill Murray and Ed Harris Labor Over a Crime Comedy That Doesn’t Deserve Them

As a gamer with a soft spot for dark crime comedies and a knack for spotting ensemble casts, I’ve got to admit that Dito Montiel’s “Riff Raff” caught my attention like a bright neon sign amidst a sea of dimly lit indie films. The cast alone was enough to make me curious about the movie, with heavyweights like Ed Harris and Bill Murray sharing screen time with fresh faces such as Pete Davidson and Miles J. Harvey.

As a gamer, I find myself pondering: How on earth did Dito Montiel gather such an impressive cast for his gritty crime comedy, “Riff Raff”? Despite the ensemble not always clicking seamlessly together, there’s a thrill in witnessing an Ed Harris vs. Bill Murray showdown, Pete Davidson portraying a melancholic gangster, Gabrielle Union adding elegance to the mix, and Jennifer Coolidge delivering a performance that perfectly encapsulates a sloppy drunk with a trucker’s mouth and insatiable desire!

If all these resources had been used in a film with a consistent tone and a script that developed believable relationships, it could have resulted in an entertaining spectacle. However, it stumbles uneasily between the ominous atmosphere of a crime drama and the light-heartedness of a sitcom, never quite reaching a climax that feels resolved. Montiel, who is most recognized for his 2006 autobiographical debut film, “A Guide to Recognizing Your Saints“, has not often demonstrated subtlety, and this violent take on the family reunion doesn’t buck the trend.

Upon perusing Montiel’s passionate directorial statement, it strikes me that he could be an exceptional salesman. He describes reading John Pollono’s script as if he had stumbled upon a forgotten Mamet play, and follows this with a flurry of influential comparisons such as Goodfellas, No Country for Old Men, Reservoir Dogs, Blue Velvet and A History of Violence. It’s impressive to set such ambitious goals.

As a passionate admirer, I too acknowledge a subtle reference to “The White Lotus” and, perhaps, Edward Albee’s play “Who’s Afraid of Virginia Woolf?” The connection is intriguing, but it seems the author might be referring more to the titular character from Albee’s play rather than the renowned English modernist author who tragically took her life. There’s a hint of Martha’s complexity in the character of Ruth that I find fascinating.

However, if you can identify anything other than the subtlest resemblance of the unique movies that fill Montiel’s vision board, then your sight is keener than mine. Perhaps it seemed more compelling during the audition phase.

DJ, a sympathetic narrator played by Miles J. Harvey, remarks on the incredible lengths family members go for one another,” the film asserts. This observation is central to the movie’s theme, reflecting Montiel’s longstanding focus on the complex relationships within fractured families entangled in crime, dating back to his initial work. However, this latest production appears to struggle with its identity, oscillating between thriller and comedy elements, ultimately delivering an underdeveloped blend of both.

The initial scene unfolds with a gentle-hearted disc jockey, DJ, aiming a weapon at Vincent (Harris), who has been a warm and caring stepfather to him since his marriage to Sandy (Union). “Family relationships can be intricate and problematic,” DJ explains as Montiel rewinds the storyline to uncover what led them to that tense standoff.

DJ, who’s preparing to head off to Dartmouth, is a science enthusiast whose thoughtful personality is evident in the intricate topographical map he has created for visitors at the family’s secluded Maine vacation home. The story takes place from Christmas through New Year’s, and this map will play a crucial role later on when it falls into the wrong hands, becoming a significant plot point.

Vincent isn’t at all happy when his unexpected son Rocco (Lewis Pullman) shows up with his pregnant Italian girlfriend Marina (Emanuela Postacchini). Despite the convincing portrayal of their relationship by the actors, it doesn’t seem to improve Vincent’s mood. The fact that he is about to become a grandfather doesn’t make him any more cheerful.

He becomes even more enraged when they pull in his former wife Ruth, who’s unconscious, from the car and place her carelessly on the couch, similar to a bag of potatoes. Upon waking, Ruth starts drinking heavily, flirts with Vincent, and steals Sandy’s expensive makeup items.

Montiel skillfully blends past events into the narrative to give us a backstory. We find out from DJ’s humorous past run-in with Ruth that she’s been bitter and rude for some time, possibly since her divorce. We eavesdrop on Sandy as she presents Vincent to her high-society parents, who maintain their composure but disapprove of their daughter marrying beneath her status. We are also told the heartwarming tale of how Rocco and Marina fell in love. Most significantly, we observe Rocco defending his family, which makes him a target for ruthless career criminal Lefty (Murray).

It’s clear that Lefty intends to carry out some serious business, given his interactions with the old general store owner who seems folksy. Vincent has a longstanding relationship with this man, and it won’t be long before he appears at their doorstep accompanied by Lonnie (Davidson), leading to a series of violent incidents. Murray delivers his lines effectively when Lonnie questions the need to eliminate two friendly neighbors near Vincent’s residence: “I would classify these as absolutely necessary,” Lefty responds.

Pollono wrote David Gordon Green’s under-appreciated drama Stronger, which starred Jake Gyllenhaal as a real-life Boston Marathon bombing survivor. In addition, he directed a film adaptation of his well-oiled play set in a grease-monkey garage, Small Engine Repair, a vehicle for Jon Bernthal on both stage and screen that worked better in its original form.

Despite some weakness in character development and relationship dynamics, he excels at crafting snappy dialogue. The film Riff Raff, visually, lacks depth and its tone appears inconsistent. The talented cast struggles to find their footing within the storyline. Neither the portrayal of crime nor the depicted respectability gained by Vincent through Sandy feels authentic.

Before any violence occurred, it crossed your mind how Sandy, who had never met Vincent’s unsavory ex-family, could have been unaware of potential secrets hidden in her husband’s past as a contractor. However, if she had known earlier, it would have diminished the film’s emotional impact during its intense, violent finale, which only adds to the already confusing tone of the story.

2024-09-10 22:27

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