A former criminal’s ordinary life, which is turned upside down when his old family shows up for a long-awaited reunion.
Chuck says:
What with its cast of unsavory characters, dark sense of humor and self-conscious irony, Dito Montiel’s “Riff Raff” would have been brushed off as just another Tarantino knock off had it been released in the wake of “Pulp Fiction.” Thankfully, enough time has passed so this film won’t be brushed aside as a pale imitation to the crime classic, as it deserves to be seen without any unfair comparisons.
Despite appearances, this is a family drama, one in which dysfunction comes home to roost in two households. Needless to say, nothing goods come from it as circumstances unknowingly push two former “business associates” on a collision course which will result in much bloodshed and an unexpected reckoning.
An actors’ showcase, John Pollono’s screenplay sports one well-written, unique character after another. Vincent (Ed Harris) has done his time as an independent contractor and found solace with his much younger second wife Sandy (Gabrielle Union) and her son DJ (Miles J. Harvey). Living a quiet life, they’re retreated to their home in the woods to celebrate the holidays. However, their respite is interrupted by a trio of unwanted visitors. Vincent’s son from his previous marriage, Rocco (Lewis Pullman), shows up with his very pregnant girlfriend, Marina (Emanuela Postacchini) in tow. Also, along for the ride is Vincent’s ex, Ruth (Jennifer Coolidge), a blowsy broad with little couth and no filter.
Meanwhile, hitmen Lefty and Lonnie (Bill Murray and Pete Davidson) are on the road, searching for Rocco. With only a scant clue of where he’s headed, the duo cut a haphazard, and at times, bloody trial through small New England towns. Just why they are on the hunt, remains a mystery for nearly an hour, yet it never proves frustrating thanks to Pollono’s sharply written, insightful script.
The tension generated by the unexpected visitors to Chez Vincent is a fruitful catalyst for meaningful conversations and shocking revelations. The dynamic between Vincent and Ruth is particularly interesting, things long left unsaid between them finally coming to the fore. Harris and Coolridge are in their element while sharing the screen, each providing a sense of nuance to roles that could easily been overplayed.
Similar results are realized with the pairing of Rocco and DJ. While they both refer to Vincent as their father, their respective experiences with him couldn’t be more different. Resentment by the elder ultimately gives way to understanding a stronger bond develops between the two as a result. As for Lefty and Lonnie, they are on opposite ends of the timeline, the former ready to cash in his chips, the latter still having much to learn. Murray’s deadpan approach plays wonderfully off Davidson’s uncertainty, the humor they generate never forced. The duo is so good, the film would have benefited from a scene or two more focused on them.
Though Lefty and Lonnie’s journey is a long one, the film never lags, one familial revelation after another keeping us hooked. Once the inevitable meeting of the principals occurs, it doesn’t disappoint. Granted, Pollono’s plotting falters a bit at the end, but not enough to mar the fine work that’s preceded it. And while “Riff Raff” will never be considered a classic, it is an example of expert craftsmanship making what could have been a mediocre film, an entertaining diversion.
3 Stars
