[A review for one of our favorite films around these parts surfaces again as the Flyway Film Festival gets underway]
Now that Don LaFontaine is narrating trailers for the big guy in heaven, I would like to nominate actor Stephen McHattie as the logical successor to the phrase, “In a World, where…” Bruce McDonald’s latest film takes the omnipresent zombie subgenre and turns it on its ear (literally). Yes, ladies and gents, this is the first ‘talk radio’ zombie picture, a film in which so little is actually shown on screen, the viewer is left questioning (for much of the films runtime) whether or not the attacks are even real. Violence and intestine pulling gore are replaced with a plethora of science fiction and social ideas which are very much to the pictures benefit. Like Vincenzo Natali’s single room sci-fi/horror picture Cube, keeping the visuals to a minimum lets the minds eye soar with the strange questions and possibilities raised here. What communication mechanisms case raving mobs to spontaneously form? What is the difference between hearing and understanding? Is language itself a virus? Can talk radio save the world or is it really the pestilence? That the titular Pontypool (besides being a small Ontario town, is itself an interesting linguistic confection) wears its brains on its sleeve, in no way makes it less of a thriller, or for that matter, a great actor showcase (McHattie tears up the screen). Bruce McDonald and screenwriter Tony Burgess surprisingly inject a lot of playfulness along the way. As genre flicks go, Pontypool is the full package deal.
Morning radio personality Grant Mazzy is having a bad month. His career from Toronto radio personality has been diminished to broadcasting small town radio from the basement of a church; a task he makes bearable by thinly veiled sarcasm and small town mockery. His producer wants him to talk about school closings and traffic hick-ups. He wants drama a controversy. With a three person crew running Pontypool’s “The Beacon,” there is already a fair bit of tension in the room. The level rises significantly when reports start coming in of some sort of mob attacks. The traffic reporter confirms that there is indeed a mob attacking the local psychiatrists office, and there is much blood and murder on the scene. Not your average day in Pontypool. While Grant, more than a bit of an egotist, at first thinks the locals are playing a practical joke, when calls from the BBC start coming in asking for details (they think it is a French separatist terrorist attack), he begins to believe that he is nearly at ground zero of a major story. Determined to keep broadcasting even when the infected come up to the front door, The Beacon is pretty much the radio broadcast that the characters in every other zombie flick tune into for a little it of exposition. But what if the language itself is spreading the disease?
When the camera pans across a random desk in The Beacon’s recording studio, where a copy of Neal Stephenson’s Snow Crash is prominently displayed, that is the clincher. The film is going to bounce a few ideas regarding science and philosophy of communication amongst the zombie apocalypse. A lot of the headier stuff comes from a certain psychiatrist who pops in and out of the radio station, Guerrilla style, not unlike Robert DeNiro in Brazil. Some may see this as a bit of a handicap to the film, but things are as much about babble (note the mangled ‘rural Ontario’ French) as they are about communication. The mumbled pontifications (pontifications? Pontypool?) of Dr. Mendez, probably a fan of the The Leiden School, who believes that languages are a form of benign parasite in the brain (this being a horror picture, what if they weren’t so benign). Seeing someone start to lose their ability to speak, in the form of a babbling breakdown, is as creepy as losing sight, hearing or going numb, and this is milked quite effectively here. As the film runs its course, the balance of engaging ideas, chills, thrills and even laughs make this one of the more effective genre-mashing films (and it is Canadian no less) to come along in a while. Highly recommended.
Just saw this at the Edinburgh International Film Festival, and I have to say it’s “Best of the fest” in my books. Such a unique and fantastically original take on a well torn sub-genre of horror. Of the all the things to love about it, what stands out is how 99% of it takes place within the confines of one building, and 60% of that in a radio booth – how many movies do that?! Stephen McHattie is amazing, and yes, he should take over for Don LaFontaine, for sure (that opening sequence with the radio wave when he’s speaking is going on the year-end best of list).
It’s so cool how they make you imagine (as opposed to just showing you) what is going on outside of the station’s walls, a scene in particular where they’re talking to their weather reporter in the “Sunshine Chopper!” (loved the repeition of that, and the joke they make of him not really being in a helicopter
, where he’s describing what one of the zombies is doing – just awesome.
And I was tickled a lot by the digs at the English language, when McHattie translates the message from French only to read the final line of, “Don’t translate this message.” And when they try to speak in French, McHattie doesn’t know a lot so he mixes the two – “So….” hehe.
Definitely gonna’ try and see this one if it ever gets some sort of release over here outside of a festival.
BTW it was down to you, Kurt, that I saw it – I remember you talking about it on an episode of the Cinecasts once and it sounded really cool.
Man, I love movies that put a spin a genre we’ve seen so many generic examples of.
Well, the film is out on Canadian DVD very, very soon. So it should be easy to import and share. I believe that fans of genre films (particularly those who want ‘smart’ genre films instead of ‘pandering’ genre films, should be made aware of this little gem.
Question. Did you stay to the end of the closing credits? Did your credits have music over them, or did they have ‘radio-talk’ of the spread of the virus over them?
Being local to the production (The film was shot about 25 minutes from my house), I’ve seen a couple different versions, but the ‘commercial’ version that got released in Canadian Cinemas in March had the talking over the credits (which was a better lead in to the fabulous credit cookie…)
Glad you enjoyed the film. Give it some love over at ScreenRant, Ross.
I didn’t stay until the end of the closing credits unfortunately, had to rush over to another cinema to catch Romeo & Juliete versus The Living Dead (which I actually wish I’d skipped – it was one of my most anticipated and it SUCKED). Why, was there something great at the end of the credits? And we got the radio talking over the credits from what I saw, not the music.
I’ll keep an eye out if there’s a release date in cinemas and/or DVD in the UK. And if not, I’ll maybe import it (I’ve never really done that before, but with YesAsia and the like I may start:)
And I’ll try to slip in a mention at SR if I can:)
The cookie is a real treat if you are a cyber punk fan, in particular, Neal Stephenson.
Loved it.
The clip at the end (after the credits) was a little strange and has my mind reeling a little bit. It was sort of a Tarantino-esque postlogue that didn’t make a whole lot of sense. Was it just supposed to be a noirish fun ending or was it trying to say something. Not sure what that was all about. Not a bad thing, just felt completely out of place from the rest of the picture and just didn’t get it.
The rest is awesome. When the “reveal” happens, I thought it was a little bit far-fetched and almost, but not quite, lost me. The idea is interesting enough and the “action” going on around within the scenes is compelling enough that it got me on board and held onto me through the final minute.
Though certain to be a fan favorite (if it ever sees the light of day around here), I can certainly understand why the second half might throw a few people from the proverbial horse and lose them forever.
Damn, you guys are REALLY making me regret leaving before the end of the credits. They should warn you about that kind of thing before you go in:P By any chance is there anywhere you can watch just the after credits clip, that you know of?
I didn’t find the reveal that far-fetched, to be honest, Andrew – more far-fetched for people than the idea of zombies in general? It actually makes a crazy sort of sense to me, that the very thing we use to communicate could turn on us, so to speak.
I could see the fact that we don’t see a whole lot of zombie action turning people off, though. It’s certainly not your run-of-the-mill zombie tail. Even when we DO see the zombies, the concentration is firmly on McHattie and the woman.
— Just as a note – Did you guys see that Bruce McDonald said he doesn’t want them to be called zombies but rather “Conversationalists”? For all intents and purposes they’re zombies, but I like the name he’s given – sets it apart from others, as does the film in general.
***SPOILER***
***SPOILER***
Far-fetched maybe isn’t the right word. More like, hard to grasp. There are scientific reasons why a zombie scenario is… sort of believable. Plus it is a cultural phenomena that has been told for hundreds of years (the living dead); much like vampirism. But the idea that a word can trigger something in your brain and turn you into a flesh eating retard is a little unrealistic. But like I said, I really like the idea; despite its other-worldliness.
By the way, all I really knew about this movie going in was that is was a zombie movie, took place in a radio booth and Stephen McHattie was great in it. I watched no trailers, read no reviews, nothing. The whole speech/language thing was completely new to me. I consider that spoilery. Just me though.
this film had a blink and you miss it run here in Portland.
@Andrew James,
I guess hard to grasp is a better way to describe it, but I still think it’s believable enough within the context of itself, if you know what I mean. It makes sense that a word could get into your brain and get you mixed up, beyond your conrol.
@Rusty James,
I had a feeling it would be that type of film that the studio just wouldn’t know what to do with, and don’t have faith that it might find an audience. I certainly don’t think it would be a blockbuster hit or anything, but it deserves better than the “blink and you’ll miss it” kind of release.
I’m hoping that there is enough interest on DVD, even internationally with this one to get the two sequels off the ground. I’d love to see the complete trilogy that is planned from the novel(s) make it to the screen.
@ After a sad ‘this film is too smart for the room and doesn’t quite have the marketing push behind it’ launch in Canada in March
Nah, I don’t think so. Audiences will embrace intelligent films as proved by Inglourious, Wild Things, No Country, even Dark Night counts. Admittedly dumb films always have a leg up commercially.
I think Pontypool suffers because it’s got no strong commercial hook and isn’t particular cinematic.
I wouldn’t recommend going out of your way to catch this in the theater. It just doesn’t have a lot to set it apart from the onslaught of zombie films. Except perhaps the heavy handed message about whatever. But people don’t go to the movies for heavy handed messages.
Why is its competition DMTH? I would think it would be Paranormal Activity.
I may not think Paranormal Activity is anymore original. But it is a superior fun time at the movies. And I’d argue PA is a smarter film as well in a way. But that’s a debate to have with someone who’s seen the film.
Pontypool is too pretentious to remember to give audiences a cinematic experience.
Whoa. The part I quoted is gone now. Orwellian.
I was gonna add that Pontypool got some sort of release in the US. It played in Portland.
Rusty, John pulled this review forward, and I modified the caption to reflect the festival it is playing at. Yea, probably should have copied and republished rather than moving the date, the comments would make more sense for sure.
Not Orwellian, more bureaucracy as usual!
KuRt.
@ Not Orwellian, more bureaucracy as usual!
ha ha. I wasn’t serious about that. People misapplying the term “orwellian” is a pet peeve of mine.
A number of us take ‘whitewashing’ of the comments section for personal reason (something that happens on a lot of other websites) seriously, even if I suspect you were joking, Rusty.
No Worries
I saw this on a plane and it was actually a pretty cool experience – zoned into my own little screen with my headphones on and all that chatter going straight into my ears…
“Pontypool is too pretentious to remember to give audiences a cinematic experience.”
Hmmm, I’m not sure I would agree Rusty. I don’t see the film as being pretentious at all. Nor do I think it forgot to give a cinematic experience – it didn’t want to give one.
Or maybe I’m just rationalizing – dunno.
@ Hmmm, I’m not sure I would agree Rusty. I don’t see the film as being pretentious at all. Nor do I think it forgot to give a cinematic experience – it didn’t want to give one.
I call the film pretentious for its semiotics angle.
I don’t hate Pontypool, I’d give it like 2.5 of 4. It’s got this one zombie angle and then it’s got this intellectual mumbo jumbo. I don’t think the two parts play well together.
And I can except that Pontypool isn’t gving audience a cinematic experience on purpose. But then I don’t think Kurt should condescend to audiences for avoiding a zombie film that doesn’t give you the horror film experience.
I think it’s insulting to say the film is too smart for audiences when in fact the film is too pedantic
I disagree strongly on the pedantic comment. The film never really tries to “Teach’ or condescend to its audience. Sure there is exposition Dr. guy in the film, but that is as much a nod to classic 1950s sci-fi cinema as anything else. I think the film lets the audience gradually come on board, rather than ‘lecture’ it.
By a long shot.
One of the reasons why I loved Pontypool so much is that it is very ‘entertaining’ –> It is funny in the right ways.
@ The film never really tries to “Teach’ or condescend to its audience
For the rec I said you were condescending.
I guess it’s funny. But it’s not a real zombie movie, the zombie stuff is just there as some hook. As I say that, I love parts of it. I think the radio drama stuff is excellent. It’s the actual zombie attacks that bore me.
and I completely agree that the Zombie genre as a whole is worn thin. But I just don’t think kill is kiss! kill is kiss! makes for much of a movie. It’s not very filmic.
I don’t know why I’m so harsh on the movie. I bet I’ve seen 5 worse horror films this month alone.
I just like to be rowthree’s contrarian sometimes.
It’s not a horrible film. It’s not BTMWLV or anything. But horror is such a competitive genre, I don’t see what Pontypool has to set it apart. Orphan is way better. I prefered Donnie Darko 2.
I liked Pontypool overall but agree it didn’t live up to the hype. I actually thought the radio version of it that they made later was more entertaining. Maybe give that a chance if its still up and you need something to listen to.
Seeing this with an audience tonight was a far different experience. When I watched it with just a couple of friends it was just a really interesting, entertaining film. The crowd I was with tonight seemed to find it quite humorous. I’m not sure what they were laughing at a lot of the time.
Oh and I’ll take this film any day of the week over something like “Zombieland.” Still not sure what this word means, but if there is one word to describe “Zombieland,” I think it would be “pandering.”
I still havent seen Zombieland even though the ‘Adventureland with zombies’ description assures I would at some point. Dont know how truthful that is. I’m hoping its fun, but I have a growing bias against “cute” zombie culture if you know what I mean.
I dont know if Minneapolis has something similar but every year here they have a ‘zombie walk’ where they dress up and have lots of make up and people just walk through the city as zombies. A number of my friends go but even that kind of annoys me at this point. At least there’s always a guy that shows up as Jesus Christ.
@ At least there’s always a guy that shows up as Jesus Christ.
One guy? In portland it was like a Jesus Christ walk with a token zombie or two. I think they stopped doing it because it started to feel like an actual religious activity.
Yeah, Minneapolis has a Zombie Pub Crawl. I believe it happened last week and from what I hear they were expecting over 1000 people this year. The whole event has become rather infamous due an event last year when a group of drunk zombies roamed into the street and the police had to come break them up. At which point at least one of the zombies bit an officer.
I believe the court defense was “method acting”.
Yes, I think there is actually more than one zombie crawl in Minneapolis (and they’re within a couple of weeks of each other). I know Toronto has at least two. Most (not all of course) of the people involved at this point are simply following a trend. Which is partly why I didn’t like Zombieland. It’s trendy – i.e. lame. I hate trends.
I hate trends.
Says the guy who wore a fucking sash this weekend.
Exactly.
Went to the Toronto screening of this last night at Toronto Underground Cinema, scarily, I believe the 6th time have seen this in the cinema (oi!). Author/screenwriter Tony Burgess, as well as the two leads Stephen McHattie and his wife Lisa Houle (they play Grant Mazzy and Sydney Briar) were on hand and hung out for a while signing stuff and chatting.
Three things learned at the screening:
1) Everyone hates talking about the credit cookie ending (alternate reality in a sushi bar), and this became a bit of a running joke during the amusingly unmoderated 30+ minute Q&A.
2) Pontypool 2 and Pontypool 3 are still a go, and the films lacklustre Canadian performance at the Box Office are not holding them back from expanding the scope outside of the radio station. A hint of “perverse sexual fantasy affecting weather patterns” was offered by Burgess, whatever that means (There was wine consumed…).
3) The Korean Tagline for Pontypool is “ENGLISH KILLS.”
4) The film went down like gangbusters in Turkey and the scene with Lawrence and the Arabians was applauded.