It’s funny to see an esoteric “I-don’t-care-what-you-think” filmmaker like Jim Jarmusch get a critical drubbing in the aftermath of him arguably returning to form. When his latest project, the zombie film The Dead Don’t Die, premiered at Cannes in May, people, perhaps, were expecting something more along the lines of his recent output — the dark, cool depth of Only Lovers Left Alive or the understated beauty of Paterson —  and inevitably, what followed would defy expectation as much as … Continue reading ‘The Dead Don’t Die’ Review: Jim Jarmusch’s deadpan apocalypse