The Saw franchise tells the story of John Kramer AKA the Jigsaw Killer (Tobin Bell), a terminally ill vigilante who imprisons society’s undesirables and forces them to play lethal games incorporating his deadly home-made traps, believing they will be morally redeemed if they manage to escape with grievous physical and mental scarring. The later central franchise entries see Kramer succumb to cancer and his fanatical acolytes take over his crusade with the help of his meticulous plans and convenient forethought to record a lot of instructional cassette tapes in advance. The films became infamous for the gruesome set pieces where Jigsaw’s victims were killed by intricate and twisted “traps” after he’d proclaim over taped recording, “I want to play a game”.

Seven instalments were released every October between 2004 and 2010, with belated follow-up Jigsaw released in 2017, Spiral (starring Chris Rock and Samuel L Jackson) released in 2021, and Saw X released in 2023.

In this edition of Ranked, we’ll be looking at every Saw movie to date, and ordering them from worst to best in terms of creativity, tension and morbid spectacle. These are the Saw Movies Ranked.

Follow @thefilmagazine on X (Twitter).

10. Saw IV (2007)

Saw IV is pretty much business as usual for this franchise, inviting viewers to grimace at a series of devious, grotesque “games” designed to teach undesirables the errors of their ways. But this one somehow feels much nastier and more mean-spirited than the rest.

By this point Jigsaw is dead, but that doesn’t stop him orchestrating his unique brand of justice from beyond the grave. Some fairly interesting flashback scenes featuring Kramer aside, the film trudges through its runtime without any clear focus. The games are still inventive, and disconcertingly hold your attention if you’re able to detach yourself from the gruesomeness of it all, but Saw IV only works on a single level – as a gore-filled sideshow with little to offer but rubbery-looking bodies being brutally destroyed by nightmarish DIY death machines.

This is probably the only entry in the series that unequivocally qualifies as “torture porn”.

9. Saw: The Final Chapter/Saw 3D (2010)

Saw VI was meant to be the series finale, but Lionsgate and Twisted Pictures weren’t ready for the games to be over just yet.

You should always be worried when a sequel gets the subtitle “3D” because that’s clear evidence that it’s not being made to last, that it’s in it for the short-term gimmickry first and foremost. It’s also the reason why so much of this one takes place in daylight or brightly lit rooms, and why the blood seems so vibrant.

There’s a twist at the end of every Saw film, and you’ve got to give them props for the particularly audacious one here; one even more shocking but admittedly a lot more stupid than the original. We’re in full-on carnival attraction mode with Saw VI, the series aiming to go out with a bloody flourish in 3D. There is admittedly spectacle to be appreciated, but very little else – even the potentially interesting idea of a Jigsaw survivors’ group is wasted.

One such an answer that is often the cause of grievance and controversy is John McTiernan’s Die Hard (1988). For those who adore the season’s staples such as White Christmas and It’s A Wonderful Life, and modern favourites such as Elf and Love Actually, the idea that a film about a showdown between a single NYPD officer and a group of vicious terrorists is even considered a Christmas film is, frankly, disgusting.

Well, sorry haters, but it turns out that Die Hard is actually part of a long tradition of non-conventional Christmas flicks – we have an extensive catalogue of Christmas Horrors for example, from Black Christmas in 1974 to Krampus in 2015. Christmas even makes its appearances in the most unlikely of plots: Terry Gilliam’s masterpiece Brazil, an Orwellian black comedy, is a prime example, as is the legendary crime thriller The French Connection. However, neither of these examples are considered Christmas movies (not even in the alternative or ironic sense), and rightly so. Christmas isn’t the focus of these films and is in fact used to highlight the darkness and evil of the stories it’s used in. That’s not very festive at all!

How Can a film Be Considered a True Christmas Movie Beyond the Mere Inclusion of the Holiday?

If we ignore the blatant capitalist message behind nearly every mainstream Yuletide film, we should consider the real message behind the original Christmas Story – The Nativity of course.

Pushing past the shepherds, kings and angels, Christmas is essentially the tale of light shining in the darkness, living in the hope of reconciliation and redemption. These are therefore the essential themes of any real Christmas film. Natalie Hayes of BBC Culture, in her article “The Magic Formula that Makes the Perfect Christmas Film”, noted that for a film to be considered a true Christmas movie, it must include the following elements: desire, a touch of magic, the value of family, and of course a dose of trial and tribulation for our heroes to overcome.

As hollow as some of these films seem to be to the lovers of a more Traditional Noel, the likes of Jingle All the Way do in fact meet these requirements, and with Die Hard being one of the most exceptional and beloved action movies of all time, it seems a very reasonable choice as a favourite Christmas film too. But what has come to my notice is the criminal overlooking of another alternative festive watch, one with striking similarities to Die Hard, released only a year prior: Lethal Weapon.

Like Die Hard, Richard Donner’s film meets the pre-requisites of a Christmas Classic and is again one of the most popular action movies from the 80s, likewise spawning an iconic franchise. Have we been duped all along with putting our money behind the inferior flick, or is Die Hard truly the superior of the pair? On the basis of which film boasts the truest Christmas Spirit, let us experience the most exciting of movie battles… Die Hard vs Lethal Weapon.

Desire

Is there an element of desire in these films? A want for something unattainable?

This is the first of the many uncanny similarities between Lethal Weapon and Die Hard, as both display a desire for a return to normality.

In Die Hard, John McClane (Bruce Willis) is flying to L.A from New York to see his wife Holly Gennaro (Bonnie Bedelia) on Christmas Eve, who works at the Nakatomi Plaza which is throwing a party. It becomes apparent that this is the first time John and Holly have seen each other in over six months and that they are more or less separated (especially as Holly is now going by her maiden name). It is revealed that Holly’s move to L.A. for a once in a lifetime promotion became a point of contention in their relationship – we don’t know exactly why, but it’s easy enough to make some assumptions: back in 1988, finding out that your wife is making more money than you would be an enormous shake up in the family dynamic, possibly too much for some men to handle. It is clear though, that although they are estranged, their marriage isn’t finished – Holly and John obviously still have feelings for one another, but it’s mixed in with a great deal of hurt, stopping them from seeing eye to eye. Thus we have the desire element: John wants a return to normality, the re-establishment of his traditional family set up (very nuclear, with the man being the breadwinner and all), but more importantly he desires to be a part of his family’s lives again.

Lethal Weapon has a more convergent plot than Die Hard.

It begins with the daily life of two LAPD police detectives – Roger Murtaugh (Danny Glover), a fairly buttoned-down distinguished officer who enjoys the comforts of marital and familial bliss (and is learning to try to age gracefully), and Martin Riggs (Mel Gibson), a seemingly unattached man who is a total loose cannon on the job, wreaking havoc in his wake. The plot gleefully puts this odd couple together. It is Riggs who is the festive focal point of the movie as it his character that embodies the required desire element. Riggs’ careless and dangerous behaviour at work is suspected to be caused by suicidal tendencies after recently losing his wife in a car accident. There are occasions where it seems Riggs indeed wants to end his life, but this is actually more the desire to be reunited with his wife – the desire to be in a loving relationship again, the desire to have purpose.

It seems to be contradictory to the spirit of Christmas to have the film focus on the likes of depression and suicide, let alone in a film with probably the most insensitive approach to these topics, but that would be ignoring the fact that one of the most popular Christmas movies of all time, It’s A Wonderful Life, is about the divine intervention of an Angel working to stop a man from taking his own life on Christmas Eve. Die Hard is also depicting a common theme in Christmas fare, which is the impending breakdown of the family unit seen in the likes of The Preacher’s Wife and The Santa Clause. Technically both films are winning Brownie Points on that front, but the desire element is far more visceral in the case of Lethal Weapon: a shot of a teary-eyed Riggs shakily placing the end of the gun in his mouth after looking at the wedding photos of his dead wife is truly impactful.

Magic

The magic we could see in the likes of Die Hard and Lethal Weapon is not going to be in the traditional vein: no angels, no reindeer, no pixie dust, and very sadly no Santa Claus! That does not mean, however, that the magic they do have is not completely spine-tingling.

At first glance, the magic in Lethal Weapon is rather elusive, but it becomes apparent that the touch of Magic is indeed Martin Riggs, or really more Martin Riggs’ unorthodox policing methods:

“You’re not trying to draw a psycho pension! You really are crazy!”

In the real world, Riggs’ behaviour is not the kind to praise or laud, but Riggs’ apparent death wish makes him an almost unstoppable crime-fighting force – a lethal weapon. From deescalating a possible shootout by scaring the life out of a perpetrator, and saving a potential jumper’s life by throwing himself off the building whilst cuffed to them, it can be said Riggs gets the job done (in the most thoroughly entertaining way possible). However, his magical powers aren’t fully activated until he and Murtaugh are captured by the movie’s villainous drug barons – is it the electric shock torture or the power of new found friendship with Roger Murtaugh? Either way, Riggs is propelled into overcoming his captors and killing every bad guy that stands in his way, all in the name of rescuing his new partner. By the time we reach the climax, he is brutalised and half-drowned, yet he still manages to subdue the film’s Big Bad, Joshua (Gary Busey), by the power of his thighs alone. Magic.

With all that said, John McClane smirks and replies with a “Hold my beer.”

Die Hard is a more plot-driven story which lends itself to even more glorious action movie magic. It is made clear from the very beginning that McClane possesses the power of snarkiness, but the storming of Nakatomi Plaza by Hans Gruber’s (Alan Rickman’s) team of terrorists/thieves, catches McClane with his pants down (or rather with his shoes and socks off), leaving him to watch helplessly as the revellers of the office party are rounded up as hostages and Holly’s boss Mr Takagi (James Shigeta) is murdered. Luckily a present from Santa Claus re-establishes his cocky self-assuredness:

“Now I have a machine gun. Ho, ho, ho.”

In the 2 hour run-time, we witness McClane relentlessly wiggle his way out of tight squeezes using the meagre resources at his disposal (which he usually attains by annihilating some hapless bad guy), whether its irritating Gruber with smart-ass comments through a stolen walkie-talkie or tossing the body of a man out of the window in an attempt to attract help from the outside. It is once McClane manages to get the attention of the LAPD (the corpse-tossing worked a treat) that the real magic begins, which is the revelation that McClane is better than everyone else alive, including you – ironic given that he spent the first half hour desperately crying out for help.

Recommended for you: I’m a 90s Kid and I Watched Die Hard for the First Time This Year

John McClane resolves the terrorist siege single-handedly despite the presence of the LAPD, SWAT and the FBI; in fact McClane saves these apparent bozos from the machinations of the terrorists several times (whilst being mistaken as some sort of psycho killer to boot). Such a magical moment includes McClane blowing up a whole floor of terrorists (without miraculously harming any of the hostages), thus stopping their rocket launcher onslaught against the unsuspecting SWAT teams attempting to storm the plaza. Another noteworthy moment is when he rescues all the hostages from certain death seconds before some idiotic FBI agents unwittingly blow up a helipad they were gathered on (and as if saving countless lives isn’t enough, he narrowly escapes this chaos by leaping off the building with only a fire hose to save him from gravity).

It can’t be denied that the police politics of this 80s classic would be unnerving to modern eyes with its idolisation of McClane’s almost vigilante brand of justice, but with a healthy dose of self-awareness Die Hard is the ultimate power fantasy; one that is guaranteed to put a smile on your face. The exact kind of magic that you would need and want at Christmas.

As a basic siege film, the physical dangers faced by John McClane in Die Hard are of a much greater intensity than that of the leading duo in Lethal Weapon: the action is non-stop and quick paced, and far more shocking and gory. However, whilst Die Hard is driven by its plot, Lethal Weapon is more character focused, and as a consequence the psychological hurdles presented in Lethal Weapon are much more immense than those seen in Die Hard, despite the huge amount of peril Holly and John McClane face.

The Value of Family

It is now time to consider how much family is valued in these films; starting with Die Hard…

Is this film not just a metaphor for marriage and the active battle that is maintaining such a relationship?

It has to be confessed that it’s not exactly hard to be initially disappointed by John when we first meet him. It appears he has let his fragile masculinity get in the way of his marriage as he struggles to cope with his wife’s flourishing career. But my goodness is this an incredible attempt at reconciliation; the man walks over broken glass barefoot for Christ’s sake!

As we all know, big grand gestures can often be empty and meaningless; it is changed behaviour that is the real apology. So what a brilliant way to finish off this metaphor with Hans Gruber being defeated by John and Holly working together; transforming their marriage into a partnership – a union of absolute equals. It earns their riding off into the sunset, entangled in each other’s arms, and so gives us that desired cosy Christmas feeling – excellent!

Lethal Weapon, by comparison, has no such romantic metaphor; it instead depicts the very real devastation caused by unimaginable loss.

Martin Riggs is a man who is constantly putting himself and others in danger through his reckless behaviour, as he is now without purpose. He does state that it is “the job” that has so far prevented him from eating one of his own bullets, but the way he achieves results still points to a blatant death wish.

It’s when the initially dubious Murtaugh begins to let his guard down and allows Riggs into his inner sanctum, inviting him into his family home, that we see a transformation in Riggs. For you see, the central criminal scandal of Lethal Weapon – ex Vietnam War Special Forces officers turned drug baron mercenaries – most deeply affects Murtaugh; he is the most entangled and has the most to lose from this situation. By actually giving Riggs a chance (whose life literally hangs in the balance if he can’t find a working partnership), Riggs no longer lives dangerously for the sake of trying to feel alive whilst consumed with grief, he instead directs all of his ferocity towards protecting Murtaugh and his interests; this deep sense of caring spreads to the wider community surrounding him, seen when he is willing to grapple in the mud with Joshua after he murdered his fellow officers.

Lethal Weapon, in the contest of greatest redemption arc, takes the victory: Riggs is quite literally pulled from the jaws of death by the power of found family through his partnership with Murtaugh – they even share Christmas dinner. This transformation from death to life proves that Lethal Weapon values family the greatest.

True Christmas films are affairs of great emotion, our heroes often go through hell to then be redeemed with the happiest of endings. This is true for both Die Hard and Lethal Weapon, but it is proven that Lethal Weapon boasts the most intense and emotionally driven Christmas tale of hope.

All you Die Hard fans may have to reconsider your all-time favourite Christmas film, but if you guys don’t change your mind, there is nothing but respect for you: Die Hard is pretty kickass.

Recommended for you: 10 Excellent Non-Christmas Films Set at Christmas

The Royal Tenenbaums (2001)
Director: Wes Anderson
Screenwriters: Wes Anderson, Owen Wilson
Starring: Gene Hackman, Anjelica Huston, Gwyneth Paltrow, Ben Stiller, Luke Wilson, Owen Wilson, Bill Murray, Danny Glover

Following the critical lauding of Rushmore, Wes Anderson’s next feature The Royal Tenenbaums would prove to be one of his most creative and best-loved films. It appeared in the BBC’s Top 100 Films of the 21^st Century list in 2016 and has received high praise from many quarters including Empire & The Guardian. Many of the contemporary reviews viewed it favourably as a follow-up to 1998’s well received Rushmore, this 2001 film illustrating Anderson’s continuing growth as a director. A valid case could be made that the film’s critical and audience appreciation has continued to grow steadily in the near two decades that have followed its release. Anderson would receive an Oscar nomination for his Original Screenplay in conjunction with frequent collaborator Owen Wilson.

The Royal Tenenbaums focuses on our titular family of kooky individuals, with failed Tennis player Richie (Luke Wilson), entrepreneur Chas (Ben Stiller) and playwright Margot (Gwyneth Paltrow) as the children of Royal (Gene Hackman) and Ethel (Anjelica Huston). Royal, after a period of absence, re-enters the family’s life to the delight of Richie and much to the chagrin of Chas. The casting of the film is one of its highlights – this is Anderson’s first ensemble cast and also features the likes of Owen Wilson, Danny Glover and Bill Murray offering fine support to the titular Tenenbaums.

Gene Hackman in particular excels as the wisecracking, carefree patriarch and has fine chemistry with the wider cast, particularly with Danny Glover and Ben Stiller. This is one of Hackman’s best latter career performances and a fine contrast to some of his more sombre roles in iconic films such as The French Connection and The Conversation. Considering the wealth of characters, the extended cast never feels overly large, with each member getting their moment to shine and complimenting each other from scene to scene.

The Royal Tenenbaums is a great advert for Anderson’s brand of humour and the depth of his screenplays. The zany dialogue is effortlessly delivered by the cast who make their unorthodox characters appear natural. The various family members’ initial disdain for Royal is evident, and the film is able to tap into their individual insecurities and troubles. The gradual shift towards Royal is handled in a delicate and believable manner, and for all of the film’s far flung acts and quirkiness, its heart and the family’s relationship at its centre remain very tangible.

The cinematography that has come to define Anderson’s career in many regards is on full display here, with long term collaborator Robert Yeoman excelling at breathing life into the New York settings – the pop-up book nature of each segment is delightful, and the warmth of the colours and the nature of the outfits really help the film to sing.

The film’s soundtrack showcases yet again Anderson’s penchant for needle drops with 60s-70s tunes prominent from The Clash and The Rolling Stones to The Velvet Underground, each song perfectly matching the scenario it accompanies; Paul Simon’s “Me And Julio Down By The School Yard” capturing some of Royal’s escapades with his Grandsons, for example.

In some ways The Royal Tenenbaums acts as a polar opposite to Rushmore, which is a coming of age tale. Tenenbaums is more focused on ageing and in particular the fragility of Royal. As with Max and Herman’s relationship in Rushmore, Royal and his relationship to his grandsons is surprisingly warm and at the very core of the film’s emotional gravitas. Unusual relationships will remain a constant in Anderson’s filmography, resurfacing in Zero and M Gustave’s friendship at the heart of The Grand Budapest Hotel, and Attari and Chief’s relationship in Isle Of Dogs. Longer than both Rushmore and Bottle Rocket, Tenenbaums zips along at a breakneck pace and is constantly inventive and adventurous.

The Royal Tenenbaums is a wonderful showcase for the creative minds of Wes Anderson and Owen Wilson, building on the success of Rushmore to become one of the most iconic works in Anderson’s filmography. The cinematography we’ve come to know and love from Anderson’s films is more prominent than in previous releases and the wonderful ensemble cast compliment each other perfectly, with standout work from Gene Hackman and the Wilson brothers. While The Royal Tenenbaums may be closing in on its twenty year anniversary, it has lost none of its inventiveness or quirkiness and continues to be a delight in many ways, sitting alongside Anderson’s very best.

20/24

Jumanji: The Next Level (2019)
Director: Jake Kasdan
Screenwriters: Jake Kasdan, Jeff Pinkner, Scott Rosenberg
Starring: Dwayne Johnson, Karen Gillan, Kevin Hart, Jack Black, Danny DeVito, Danny Glover, Alex Wolff, Morgan Turner, Ser’Darius Blain, Madison Iseman

Two years ago Jumanji: Welcome to the Jungle was released and it was a pleasant surprise. Far from just another nostalgic re-do, it was zippy, quippy and unexpectedly full of heart. You of course missed the late great Robin Williams as Adam Parish but soon grew to love these new characters played by a cast having the time of their lives and couldn’t wait to meet up with them again. Jumanji: The Next Level has more of what works and also a fair amount of what didn’t, and still doesn’t.

After their return from the video game world of Jumanji, Spencer (Alex Wolff), Martha (Morgan Turner), Fridge (Ser’Darius Blain) and Bethany (Madison Iseman) get on with their lives. Unfortunately Spencer’s college life isn’t what he wants it to be and he’s tempted to boot back up the damaged magical game cartridge again to control his chosen avatar Smoulder Bravestone (Dwayne Johnson). When his friends come looking for him, they and two unexpected new players (Danny DeVito and Danny Glover) enter a very different Jumanji world.

If the previous film was about learning to brave enough to be the version of yourself hiding below the surface, this one’s about accepting all aspects of who you are – the good, the bad and the boring. Real life intrudes on your free time, which is why escapism in any form is all the more important to retain your sanity.

They really commit to the video game conceit again. Regular players of action-adventure games like the “Tomb Raider” or “Uncharted” series will recognise the film’s world as a typical expanded game sequel, with a more elaborate plot and challenges, and with our heroes progressing from a jungle level to a desert level to an ice level and so on. The game has certainly changed, with a brand new quest, new characters to meet and different players inhabiting the avatars and changing their personalities as a result.

Martha is the only original player controlling her chosen avatar Ruby Roundhouse (Karen Gillan) so her experience makes her the de facto party leader, and it’s great to see Gillan get to play front-and-centre for a change. Kevin Hart pulls out an uncanny Danny Glover impression, but Dwayne Johnson’s Danny DeVito mostly amounts to him pulling a face and going “Ah?” every few minutes. There’s an extra big laugh to be had from Dwayne Johnson in a surprise blink-and-you’ll-miss-it second role as well, so look out for that. I’m not really sure if Jack Black acting like Fridge really works, or whether the impression itself constitutes as “problematic”, but rest assured everyone will not stay in the same avatars they started in for the duration.

Awkwafina (The Farewell) is a great addition to the ensemble, continuing her run of eclectic scene-stealing roles as new player character Ming, here really selling that there’s an awkward teenager at the controls of her avatar for much of the runtime, though at one point she gets to be DeVito as well, doing a much more convincing job than Johnson in the process.

What the last film really lacked was a great villain, and things aren’t much better here. Game of Thrones‘ Rory McCann does his best to inject menace into Jurgan the Brutal, and amusingly can make the man formally known as The Rock look small when they go head-to-head, but he’s probably only in the film for about fifteen minutes total and you’re crying out for something more going on behind his luxurious beard. They should just cut their losses and get Jonathan Hyde back next time.

The action is a skillfully put together series of frenetic chases, tangles with aggressive wildlife and comedy fight scenes with a satisfying rhythm and plentiful gags overriding an occasional CGI sheen. There’s also some well-timed and entertaining callbacks peppered throughout. You could probably do without so many old-man-is-forgetful or old-man-is-deaf jokes but far more of the comedy lands than doesn’t.

We still don’t know what happens to someone in the Jumanji game who loses all their lives. Mortality is touched upon in the film, perhaps inevitably for a film exploring alternatives to real life and featuring two characters in their seventies. Maybe we’ll get the answer next time in the third film of this trilogy that is explicitly set up. In the meantime, it has been nice to catch up with these characters on another fun, if a little drawn-out romp through Jumanji.

15/24

The Dead Don’t Die (2019)
Director: Jim Jarmusch
Screenwriter: Jim Jarmusch
Starring: Bill Murray, Adam Driver, Chloë Sevigny, Tom Waits, Steve Buscemi, Danny Glover, Caleb Landry Jones, Selena Gomez, Iggy Pop, Carol Kane, Tilda Swinton

The latest film from the iconic filmmaker behind the likes of Stranger than Paradise and Only Lovers Left Alive, Jim Jarmusch, and the follow up to the understated poetry-driven drama Paterson (2016), is 2019’s surprise summer comedy The Dead Don’t Die, a zombie apocalypse movie filled to the brim with unique and endearing moments that make this – yes, even this – every bit as Jarmusch as a Jim Jarmusch movie can be expected to be.

Never one to shy away from pushing boundaries and testing the limits of his own abilities, Jarmusch’s move from the quiet exploration of everyday life in Paterson to the madness of an out-of-this-world scenario like the dead rising to eat people in a small, rural American town in The Dead Don’t Die is one that feels as effortless as his career’s other notable twists and turns, the director’s reconnection with previous collaborators Bill Murray (Broken Flowers) and Adam Driver (Paterson) showcasing his unique and timeless ability to present much different characters from the same performers across his own unique output.

The Dead Don’t Die is a zombie comedy and it really is as simple as that. However, unlike some of the sub-genre’s most aggressively horror-leaning or horrendously unfunny inclusions, Jarmusch’s offering is almost limitless in the number of ways it earns a laugh throughout its tight 1 hour 44 minutes runtime and, comedic gore aside, strives to be anything but scary. Whether parodying horror, zombie movies or even cinematic conventions, Jarmusch earns a laugh. Flawless timing (of dialogue, action, story beats), quips and narrative revelations offer even more reason to be bouncing out of your chair. The Dead Don’t Die is a simple zombie comedy, sure, but an incredibly intelligent and utterly rewatchable one at that.

The comedic timing of Driver and Murray is second-to-none as the cop buddy duo at the heart of the film. Their strong chemistry in front of the camera, and a mix of intense genre-trope-driven content and benign conversation in the script, make their every action and word of dialogue an absolute treat, their inherent abilities to push different buttons as some of the very best actors around being placed front and centre for some of the funniest meta moments put to screen in years.

The pacing, some of the brutality, even the choices in support casting – Iggy Pop is one of the first zombies to resurface from the dirt, perhaps as a commentary regarding conformity, while Selena Gomez personifies the female survivor of your typical “road horror” – all push towards the same goal of making a hilarious, though still an incredibly intelligent and critical piece overflowing with political and social commentary; the work screaming the unique vision the director holds of the world, his presentation of our society’s absurdity being as thought provoking as it is undeniably hilarious.

The biggest potential issue this crowd-pleasing, star-driven piece will come across in its pursuit of box office success is that a lot of its commentary (comedic and serious) comes from a place of particularly film-centred, Western reference points, the crux of the movie being Jarmusch’s decoding of an entire genre, comments on political leaders included. However, to those familiar enough with current events, the director’s collaborators, the genre and/or cinema as a whole, The Dead Don’t Die is a laugh-a-minute marathon of absurdity with recognisable actors popping up left, right and centre to keep any dwindling attention span on the right track. This movie won’t go down as the masterpiece of this phenomenal director’s long and respected career, but it will certainly fulfil your inherent need to laugh and perhaps become his most rewatchable entry to date.

Keep an eye out for a truly fantastic Tilda Swinton performance.

18/24