If one line sums up the experience of watching John Dies at the End, it would be “If Franz Kafka was here, his head would explode.” For a film that attempts to spoil the final act within the confines of the title, it manages to have some of the most surprising, consistently inventive plot twists in a modern horror film mixed with a healthy dose of existentialism and humor. In a way, this helps the occasionally too silly plot to never feel weary and leaves the audience feeling satisfied. If not satisfied, they at least have plenty of bizarre imagery to mull over.
As the title suggests, John (Rob Mayes) is stuck in some peril for majority of the movie and it is up to his pal Dave (Chase Williamson) to save the day. Told mostly through a conversation that Dave has with Arnie (Paul Giamatti), the story chronicles the events as they grow weirder and weirder. There are mustaches that turn into butterflies, dogs driving cars, and a bratwurst that can be used as a phone. Those aren’t even the weirdest parts, which will best be left for the viewer to discover in order to fully appreciate the genius of this film’s structure.
While John and Dave start off feeling like sarcastic Buffy the Vampire Slayer character knock-offs, they quickly evolve into decent protagonists with enough complexity to fit this world. The exposition is also well placed, revealing crucial information gradually in interesting places. This is a story that relies on an ambiguously portrayed supporting cast, and thanks to terrific performances by Doug Jones and Glynn Turman, the film strikes the perfect tone between tension and humor. Overall, director and writer Don Cascarelli has done a fantastic job of adapting David Wong’s story, which definitely is oddball enough to qualify as a cult classic in the making.
While the script is really tight, it is the visuals that may be a detractor for some. Cascarelli’s tale has an infinite love of body horror. From simple analogies involving ghost limbs to severed guts and blood-covered walls, this is a graphic film, which isn’t afraid to draw perverse humor from mutilation. Even the camera has a whirling effect at times that portrays psychological turmoil in surreal, unpleasant ways. As funny as the film is, it also isn’t afraid to be a passionate, graphic horror film in the vein of Peter Jackson’s Braindead. It will definitely leave some queasy, but others in awe of the craft and realism of the prosthetic work. It is a real delight that often sees organs being used in highly original ways.
The film’s best and worst attributes may be its unpredictability. While the story may be consistently engaging, there are definitely aspects that ask the audience to have a huge suspension of disbelief. For those that can, this is a mind bending joy ride that will leave a satisfied taste. Even with all of the surreal elements, the story comes first and manages to find a logical twist every few minutes that seems weird, but almost always pays off. The film’s success is that it has many great, memorable moments that reflect a filmmaker with a vision of highly entertaining, if sometimes schlock passion. Cascarelli clearly loves horror, and instead of lampooning it, he creates something new and amazing. In some ways, the experience is like watching Terry Gilliam’s Brazil for the first time and noticing something of beauty that doesn’t quite make sense.
The performances are equally great, especially Chase Williamson, who has some of the more absurd scenes in the movie. His ability to convey confusion without going into camp is what helps this film succeed. He also knows how to give great voice over work with a stern tone that turns absurd concepts into reasonable demands. His chemistry with Rob Mayes is also great, as their often sarcastic, guffawed sense of humor is what turns the insane ending into something of hilarity. Glynn Turman as a police officer is another exceptional standout that features an arc so dark, it keeps the film from ever feeling too nuanced from occasional plot holes. Even Paul Giamatti has a few moments to shine, but is essentially overshadowed by the other characters’ weirdness.
John Dies at the End is how more horror films should be. Highly entertaining, often grotesque and scary, the film paints a world that hasn’t been seen before, and it is fascinating. While at times too silly, it achieves success with two energetic leads that are just as confused as the audience. Even if this film doesn’t work logically, director and writer Don Cascarelli’s vision is so refreshing and consistently bizarre that it easily achieves numerous memorable moments. Most of all, the liveliness and passion to the story serves as a reminder that cinema has yet to reach the farthest region of how successful and bizarre a film can be simultaneously.
Comments
Post a Comment