Review by Ben Bussey
When setting out to assess a film which deals with the nature of time, space, psychic phenomena, and the role that drug use might play in our perception of these matters, all from a detached, tongue-in-cheek perspective, it’s immediately apparent how easily a film of this nature might not work. From the word go, right there in the premise and the title, it’s all so clever-clever, so knowingly absurd on every level that it should by all rights crumble under the weight of its own smug self-awareness. It also doesn’t help that the lead actors are far too good looking and muscular by half. It could so easily be Detention all over again.
Yet not only does John Dies At The End successfully avoid drowning in a black lagoon of hipster self-importance; it also manages to be one of the most deliriously entertaining and inventive movies of the year, a joyful genre-bender with Pythonesque blood pumping through its horror fan heart.
Dave (Chase Williamson) and John (Rob Mayes) are a pair of old high school buddies still caught up in a perpetual adolescence, who through little-to-no fault of their own find themselves beset with enhanced psychic faculties, and have made use of this by becoming – in the words of reporter Arnie (Paul Giamatti) – some kind of “spiritualist-exorcists.” As for how they got that way, and what their new-found abilities have told them about the nature of reality and the fate of the world, indeed the universe – that’s what Dave meets with Arnie in a Chinese restaurant to discuss. It all has something to do with a new, rare drug that Dave and John have come into contact with; a black liquid they know as soy sauce. But where is John when Dave and Arnie meet? Might there be a clue in the title…?
Not long ago I lamented in a typical thirtysomething horror geek manner how more or less all the great directors of yesteryear bar Cronenberg have long since either lost touch with their creativity or sunk into apathy when it comes to their contemporary work. I realise now I failed to consider Don Coscarelli, and the clear exception to that rule he also represents. Although John Dies At The End is his first feature for the best part of ten years (seriously Bruce Campbell, can the script for Bubba Nosferatu really have been that bad? Especially by your standards?), these two latter efforts from Coscarelli can proudly stand shoulder to shoulder as representing a filmmaker who has only truly found his stride more than two decades into his career. Both films originate in comparatively lesser-known works of cult horror fiction; both balance supernatural horror with absurdist humour; and both manage to defy expectation with remarkable self-assurance, without alienating the audience. And while neither is necessarily that scary, by gum they’re funny as fuck. In a year that’s been no slouch for above-average horror comedies, John Dies At The End more than holds its own, proving laugh-out-loud hilarious almost from start to finish.
It’s not inconceivable that some viewers may be put off by the incessant quirkiness of it all, what with the abundance of impossible goings-on, and the fractured non-linear narrative leaping back and forth all over place. However, the whole enterprise is handled with such charm, it’s not hard not be seduced. Providing a familiar face in Giamatti as a window into this madcap universe was a wise move, just as it was wise to cast two unknowns as the young heroes of the piece. Much as I was initially predisposed to dislike Williamson and Mayes for their good looks, good hair and musculature, they’re an immensely likeable duo. Such characters could so easily have wound up Bill and Ted/Jay and Silent Bob clichés, which would no doubt have hurt the film. As much as we can buy Dave and John as drop-out slackers, we also need to believe they have what it takes to save the world as we know it; and Williamson and Mayes convey both, no problem. There are certainly no slouches in the supporting cast either, with a great nemesis in Glynn Turman’s cop, a wonderfully theatrical turn from Clancy Brown, and a fan-pleasing cameo from Phantasm’s Angus Scrimm. The dog proves pretty damn loveable too, even for a cat person like myself.
Nicely shot and well edited, with a good balance of decent practical effects and reasonable CGI, John Dies At The End radiates everything good about independent genre filmmaking today. Sure, it may be a bit of a stretch to class it as a horror movie, but – once again – its charm is more than enough to wash away such misgivings. In my estimation it’s not only the best new film shown at Abertoir 2012, but one of 2012’s best new films overall. See it as soon as you can. But of course, as the trailer requests, don’t tell anyone how it ends.
John Dies At The End is set for US release in January – keep your eyes peeled (the third in particular) for further release info.