Monday, April 4, 2011
Hobo With A Shotgun (2011)
The retrosploitation train doesn't show any signs of slowing down. But I'll take more inspired efforts like this over limp attempts at remakes any day of the week and twice on Sundays.
At the onset of our film, we follow a dreg of society as he makes his way to his new 'home.' But when he arrives, we learn that all isn't peachy as his new place of residence is a city overrun by crooks and corruption. The ring leaders being a devious man named Drake and his two Ran Ban sporting douchebaggy sons. Our hobo doesn't want anything to do with them though despite their violent and very public executions. Instead, he yearns for something that reminds him of a different time: a used lawnmower which calls to him from behind the window of the local pawn shop.
But his world starts to get turned upside down when he comes to the aide of a hooker who's having a bad day. After he rescues her, our two douchey brothers try to teach him a lesson by carving him up with a knife. What really sets him off is his encounter with some thugs the next day while at the pawn shop. After another day of trying to scrape up the necessary change, his ogling session is cut short when the armed men come into the store looking to hold up the joint. Our hob grabs a shotgun hanging from a nearby wall and starts blasting away. He exits the store after dispensing the last of them, hilariously exclaiming how he hates guns.
It's balls to the wall shotgun wielding justice from here on out as he takes to the streets to clean them up. After ridding them of crooks and evil doers, he sets his sights on the mysterious man named Drake and his douchey sons. Just when his task becomes too much and it looks like he's about to fall, our streetwalking princess is there to pick up the slack, dispensing some vicious, lawnmower toting justice of her own!
Fun, over the top, with a lot of heart (the scene where Hauer's character talks to the girl about bears is particularly touching), Hobo with a Shotgun represents all that is right with the resurgence of this sub-genre. Instead of slapping on the grindhouse aesthetic and going through the motions, director Eisener's film has a soul of its own.
Cortez the Killer