There’s something beautiful about a gore filled exploitation film with a hint of social commentary lingering beneath the surface. That’s the precise reason that Jason Eisener’s, Hobo with a Shotgun not only lingers, but calls to viewers and critics, demanding a rematch with the film. Critics will lose twice over, while viewers will only further gain.
This tale of a homeless man who has had it with the torture that inner city homeless are subjected to, and thus chooses to fight back, is an absolute blast. I’d dig deeper into the synops of the film, but that really does sum up the film. When you sprinkle in the social commentary that hovers just slightly beneath the surface, you witness the birth of one hectic yet memorable picture.
What’s so surpring about the picture is the extent to which Eisener pushes boundaries. It’s easy to be confused by the seriousness with which our filmmaker takes the underlying subtext: should we take the “message” to heart, or shrug it off as more over-the-top madness? It’s really up to you, but the unique quality of the tuation is that it doesn’t make much difference: it’s a fucking blast just the same.
Longtime genre contributor, Rutger Hauer is fantastic is the rambling hobo with vengeance on his mind and shotgun in hand.
Molly Dunsworthis serviceable as the naïve but hopeful streetwalker who befriends our protagonist and Brian Downey is rightfully despicable as arch nemes, Drake. With an exception of two, it’s a great ensemble that offer a lot of spirit and strong on screen presence.
I don’t want to talk too much on this film, as it’s pretty easy to pick this one apart, piece by rewarding piece, and that’s sure to make for a long read. I will however say that I loved the cinematography of this picture (a lot of which reminds me of vintage of Sam Raimi), I really dug a handful of the performances, the humor is outrageous, the gore is not only great, but truly detailed, and the concept of the film, though not quite innovative, is embraceable: it’s something that your “average Joe” can get really get behind, and that only further empowers Rutger Hauer.
Note: I would strongly, strongly suggest this film for exploitation fanatics