Ill Fated

Nearly turned it off a few times but I kept going, I should get a medal. So badly put together and developed, there should be a category for something as bad as this.

Let's see, there's (I think) drama, there's promiscuity with no one ever, ever practicing safe sex, there's incest, there's deaths of inconvenient characters, there's a demented school bus driver, there's the Keystone Cops, and best of all there's a gun fight at the OK Corral - right at the very end.

I had a hard time keeping track of the characters and who fathered who. There's a crackpot old grandfather thrown in for good measure. And on. And they probably got hefty Canadian government grants to make this. My brain is bleeding. Sometimes us Canucks embarrass ourselves SO publicly. Sorry, world.

4 out of 10 for the poor bewildered performance of Paul Campbell. Did anyone ever, ever struggle to rise above his material so desperately? All the points are for you, buddy.

I gave this film a 9... and I've also given a 9 to The Godfather, Dr. Strangelove, Pulp Fiction etc. Ill Fated is not as good as the aforementioned films... however, after seeing the film I felt just as satisfied as after watching the others. I was just so delighted to see a Canadian film so bloody entertaining and simultaneously so very profound. I've never been witness to an audience so moved by a Canadian film in all my life (and I've seen many - too many - Canadian films). This film won't make 100 million at the box office, but like Donnie Darko or Reservoir Dogs, Clerks etc. will inevitably find a huge audience (slowly but surely). I expect big things from the talent behind this one.

Immediately reminiscent of Coen brother's "Fargo". Humorous and entertaining in a way that doesn't take the audience to be halfwits. John Parker's role as Grampy was inspired and his "meltdown" was hilarious. My personal favourite character was the sheriff. His constant frustration with the townspeople and his volunteers made for constant laughs. Finally a film that Canadians can be proud to call their own. Mark Lewis has set himself a very high standard. I hope he can continue to bring us great films up to par with his first.

I think "scott_lewis" (other viewer) should take another look at the ending. Not sure what they are referring to... and it wasn't as though the ending was ambiguous. The majority of the characters run off screen, chasing Earl down the hill in what is a terrific finale. All the characters except for Jimmy, Barb and Jennifer... when something horrific happens - but not in the way that the above writer thinks. I won't ruin it because it is a bit of a surprise... although in retrospect, inevitable. It's a hard ending, but necessary. And it really does tie everything together... particularly thematically. One of the main characters runs from the sins of his past (something I think most people can relate to, at least to a certain extent), however, this character experiences the consequences of his actions to an extreme... but this is storytelling... conveying poignant messages but in an exaggerated, dramatic, and, ultimately, entertaining way. By the way, I am a friend of someone who was involved in this film... but truly believe the above to be true.

I've read a couple reviews. One was good and seemed to get it but the other was terrible - and in my mind way off base. The reviewer took the drama way too seriously instead of enjoying the vibrancy of the film and how *beeped* up this guy's situation is. I thought the film was hilarious. And refreshing in how the filmmakers broke the mold of a typical Canadian film. I like Canadian films but this one was ballsy; took a hyper-real approach... which I think is great. Think Fellini in backwater Canada. Historically, critics have always had trouble appreciating films that deviate from realism. The reason for this I think is that they're... critiquing. When a film is expressed through impressions of ideas or feelings (from surrealism to absurdism), the aesthetic can only be experienced through, for lack of a better word, feeling. The greatest filmmakers have fallen victim to this pitfall (from Fellini to Powell/Pressburger, to Kubrick and Wes Anderson). But regardless, it's the test of time that proves the worth of little films like this. We'll have to wait and see.