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Mar 08, 2025 By Scott Howard Web Exclusive

Despite the title, Dito Montiel’s low-budget comedy/crime movie is a cut above the usual riffraff. This movie features a fantastic ensemble cast, bursting at the seams with great writing, likable characters, and amazing chemistry between them. By the time the credits roll, there’s a feeling of hope for a future chance to check back in with screenwriter John Pollono’s wild cast.

Riff Raff begins in the affluent, secluded home of Vincent (Ed Harris) and Sandy (Gabrielle Union), a blended family out in the wooded American Northeast, as Vincent connects with his stepson DJ (Miles J. Harvey). Harris plays his usual gruff typecast, juxtaposed with a warm, loving nature for his family. As DJ reflects on his recent romantic troubles alongside his trepidation about leaving the nest to pursue college, Harvey brings a sense of general naïveté that all 18-year-olds carry into adulthood, keeping DJ engaging while teetering just on the edge of obnoxiousness. His endearingly nerdy nature and need to spout insightful yet somehow useless facts lead to some truly funny moments.

Their lives are upended by the sudden appearance of Vincent’s wayward son, Rokko, played by the always likable Lewis Pullman. Rokko is the family screw-up, humanized by his genuine love for his pregnant girlfriend, Marina (Emanuela Postachinni), who functions as an enigma—both protecting Rokko’s secrets and encouraging him to be his best self. Rokko has also brought along his unwilling, wildly crass, disruptive mother, Ruth, played by the hilarious Jennifer Coolidge. Her physicality and line delivery can’t help but make an unlikable-on-paper character utterly lovable. While the family doesn’t know the exact reason for the impromptu reunion ahead of New Year’s, a buried piece of Vincent’s past is working its way to their door, one victim at a time.

This comes in the form of Leftie and Lonnie, played by the stellar comedic mainstays Bill Murray and Pete Davidson. Leftie and Lonnie muddle through laugh-out-loud sequences on their way to the eventual showdown with the family. Murray is funny and yet feels genuinely dangerous and scary. What makes the film shine is that nearly none of the actors cast play against type. Dito Montiel knows the tools he is working with and uses them deftly.

Some general shortcomings could keep a filmgoer distracted, such as the lack of characterization for Union’s role outside of being a loving wife. She does her best with the role, but more is desired. The same goes for any revelations about Vincent’s past, which seem to have been lost in the shuffle. Outside those minor complaints, Montiel utilizes the film’s 90-minute runtime to his advantage, keeping the audience engaged with consistent comedy juxtaposed against the northeastern wilderness and gentle fall/winter tones that are aesthetically pleasing to the eye. Flashback sequences are used to further character motivations but never overstay their welcome or derail the plot. The production team knows when to shift the film into sad reflections to build dramatic tension before returning to the comedic timing that permeates the movie. This makes it a cut above the slapstick, run-of-the-mill comedies that companies are content to pump out nowadays.

Riff Raff is a great little experience with a tight runtime and a limited locale reminiscent of a stage play. All the characters are a joy to watch, the writing is funny, and the plot is serviceable. While the conclusion is a little perplexing, sometimes a pleasurable ride is all one could ask for. (www.riffraffthemovie.com)

Author rating: 7/10