Riff Raff (United States, 2025)

Riff Raff reminds me of one of the avalanche of post-Pulp Fiction movies that tried (and mostly failed) to latch onto the vibe that the Tarantino film gave off. Riff Raff owes a lot to Tarantino (and probably just as much to the Coen Brothers) but its efforts to pay homage to its inspirations come across as diluted and poorly focused. It’s a perfectly adequate thriller with bleakly comedic overtones but, with a cast this accomplished, it’s reasonable to have expected something better.

There are two central problems with the film. The first is a tendency toward tonal whiplash. Tarantino, the Coens, and others have mastered the art of incorporating elements of dark comedy into thrillers, maintaining both a sense of twisted gallows humor and white-knuckle tension. Director Dito Montiel tries but never quite gets there. There are times when his jokes seem out-of-place and the suspense never quite reaches a boiling point. Then there’s the second issue, which relates to the disjointed structure. It ping-pongs back and forth between two separate storylines that we know will eventually collide while throwing in flashbacks to provide context.

The primary narrative branch focuses on the messy dynamics of an awkward family reunion as adult son Rocco (Lewis Pullman) shows up at the rural Maine demesne of his estranged dad, Vincent (Ed Harris), with his pregnant girlfriend, Marina (Emanuela Postachini), and mother, Ruth (Jennifer Coolidge), in tow. Vincent’s current wife, Sandy (Gabrielle Union), and step-son DJ (Miles J. Harvey), react with a combination of discomfort and annoyance at the unwelcome arrival of the newcomers. They’re on the run, being pursued by two hitmen, the nonchalant Lefty (Bill Murray) and pasta-loving Lonnie (Pete Davidson), who have a history with Vincent and a bone to pick with Rocco. Those two are the best-written characters in the film, seemingly having wandered in from a Coen Brothers movie after missing the off-ramp on the derivative thrillers highway.

It's an impressive cast with most of the bigger names inhabiting roles so familiar that they fit like a well-tailored suit. Ed Harris plays the gruff, tough patriarch who excels at being the strong, silent type. Bill Murray blends deadpan wisecracking with something less-than-genial. Jennifer Coolidge is an oversexed ditz. And Pete Davidson offers his take on the warped, somewhat annoying sidekick. That leaves the likes of Lewis Pullman, Gabrielle Union, Miles J. Harvey, and Emanuela Postachini doing their best not to disappear into the long shadows cast by their co-stars.

That’s not to say the performances are bad. Excepting Coolidge and Davidson, who are irritating (as is their wont), the acting is competent with Murray and Harris in fine form. But the one with an attention-catching capability is Emanuela Postachini, who does a lot with an underwritten part.

Riff Raff successfully builds to its climactic scene then milks that interaction reasonably well for tension and suspense. Everything snaps into place in time for a 30-minute cruise to the finish line. The big finale is well-orchestrated, well-edited, and well-paced. It’s many things that the sloppy first 60 minutes aren’t. There are revelations, relationship fractures, attempts at redemption, and an explanation of the movie’s opening teaser scene – the one that got us interested in the story.

As for the ending, I’m not sure what to think. On the surface, it’s awkward and hard-to-swallow. But there’s something in the final expression of one character that gets me wondering whether it’s not that simple. Maybe I’m overthinking. Regardless, this is a movie that saves the best for last, which is often not the case these days. So for those who hang in there long enough, Riff Raff delivers. I just wish the buildup had been more engaging.

Riff Raff (United States, 2025)