22 January 2011 | ianfarkas9
Hobo with a Shotgun is a bloody good time at sundance
He's a guardian angel walking the streets, a vicious protector of the weak and innocent. He is the hobo with a shotgun. He is Rutger Hauer. Hobo with a Shotgun is the story of... well, the title pretty much says it all. Bad guys led by a enjoyably psychotic gang lord named Drake dominate the unnamed city that is the setting of the movie. Drake and his two equally messed up offspring, Slick and Ivan, terrorize the people of this tortured city uncontested until the arrival of Hauer's Hobo, intent on using his saved nickels and dimes to buy a rusty old lawnmower that will surly start him on a honest, rewarding career. Sadly for Mr. Hobo, destiny has other plans, and our hero uses his mower money to purchase a old pump action shotgun with the intent of cleaning up the city. Along the way he is aided by a prostitute named Abby (a stunningly beautiful Molly Dunsworth) who has an affinity for destruction.
This films greatest strength is its oddball tone and freakishly beautiful bursts of violence that occur periodically through the movie. The chunks of the movie that involve crazy old Rutger Hauer blasting through waves of baddies in brutal fashion and the bizarre acts of violence perpetrated by the films antagonists are easily the highlights, and they never fail to delight with their brilliant, twisted gore effects. Director Jason Eisener is a master of cinematic displays of blood and guts, and god bless him for it because it takes the film to a whole other level. I would love to provide an example for your reading pleasure, but tragically spoiling any part of this movie is a crime to heinous to contemplate committing. Just know you will leave the theater feeling like a changed man after the brutal displays of carnage presented.
Unfortunately, the film is ultimately brought down by some poor scenes that stretched on for agonizing lengths. Many of these involve our homeless protagonist ranting senselessly to his lovely caretaker Abby, others involve the already hyperbolically inflated villains plotting the death of the Hobo. Perhaps what is most tragic is that Hauer, with the exception several brilliant lines in the films third act, never gets a chance to truly shine as the shotgun wielding hero, a huge disappointment considering the potential he possessed. Regardless of these flaws, the film is still an incredible experience based solely on the incredible displays of creative gore.