The performers act in much the same way a tornado acts like an interior decorator when it blows through a town. And each cast member brings a new form of terrible to the movie. It’s as if everyone in a symphony switched instruments to one as far removed as possible from what they normally play. Acting classes have centuries of material from this movie alone on different ways of acting badly.
The dialogue approximates human speech in much the way…
This is another one of my “I wanted to watch it because of the cover art” movies. I mean, dude is getting impaled through the mouth with a shishkebob skewer. That’s memorable. But over the years, I’ve heard this is over-long, overly convoluted, and kinda dull.
I’m pleasantly surprised to say it was better than I expected. The criticisms of it being overly long are definitely true; there’s got to be as much padding as an Olympic gym floor. Cut…
Zombie movies and bottle movies are a fairly common pairing. It makes for a natural set up: a hoard of mindless killing machines besieging a place with survivors trapped inside, hoping for escape or rescue. It’s so common, it’s hard to envision a zombie movie that doesn’t involve hunkering down and fortifying a building, and it’s doubly hard to imagine a zombie movie doing something new with that formula.
Pontypool finds that something new to do with it. It changes…
Yelling a joke doesn’t make it funnier. Neither does repeating it. Neither does only having one joke, and stretching it out for 90 minutes. And neither does trying to hide all this behind the thin veneer of a low budget movie running on 80’s public access. If anything, the fourth wall-breaking gimmick highlights the flaws, as it strips away the charm of being low-budget and just makes it look amateurish. This turd doesn’t cleverly use the slasher genre’s tropes as…
