Roadkill

An interesting look at one woman's journey of discovery, Ramona must find the ambulatory band, Children of Paradise, in order to find herself. Like Dorothy in The Wizard of Oz, Ramona meets a cab driver without a brain, a film-maker without a heart, and a serial killer without courage. In leading them to their own paths of personal growth, she discovers her own. An excellent, little film that is worth checking out though it may be difficult to find outside of Canada.

I highly recommend this movie. It will probably not appeal to mainstream audiences, but that is to be expected. It's a brilliantly done low budget indie that may remind you of Tarantino, even though it was years before Reservoir Dogs. In fact, I'm surprised Tarantino hasn't acquired for Rolling Thunder(his distribution company). I know he's familiar with the director because he reportedly has the rights to one of his other films. You will have difficultly finding it in America. I recommend checking the internet auctions regularly. I assure you it is worth buying to see it, even if you only watch it once. Since it's so unknown in America, you can probably get it cheap as well. You may have noticed I haven't said anything yet about the plot. I think if I tell you plotlines you won't believe me. That's how "out-there" it is. And worth your time and money. Get this video.

Rough and raw in the best sense. Delightfully quirky, damned funny, with the odd, faintly haunting moment worked in. My thought a few years ago, seeing it in a video store was, okay, I remember it got my attention first time round in the theatre, but this was ten years ago; what happens if I rent it and see it again?

Answer: it holds up quite well. Yes, the very raw (read 'cheap') production values shine through everywhere; this is part of the fun, after a while. The rough black and white footage makes rural Northern Ontario look properly bleak (and occasionally sinister -- hey, I grew up there; and trust me -- it's appropriate), and, at times, coldly beautiful. Buhagiar is deliciously bemused throughout as the stranger in a (very) strange land, and McKellar's wannabe serial killer is an absolute scream (listen for the line about upward mobility, hockey, crime, and weak ankles; I'll avoid spoiling it for you).

It's probably blasphemy to some fans' ears to say it (it's McDonald, it's rock 'n roll, and you're not really supposed to take any of these things too seriously), but on some levels, this is almost a film of substance despite itself, if you go looking for it. Again, it's partly the atmosphere: the melancholy question -- "whatinhell are we all doing here anyway, and exactly why are we bothering, again?" -- a question naturally posed by the area -- works its way in at the edges of the frame. The response of the lead singer of the fictional "Children of Paradise" -- to shut up entirely, and suffer the absurdity of it all without comment, from behind haunted, hollow eyes -- actually makes a fair bit of sense, given the environment.

The dialogue is weak through much of it, and not always much helped by the sometimes amateurish delivery, but there are some brilliant moments. Co-writer McKellar, who, in my view, hit his stride with the quietly apocalyptic (see it; I'm not explaining here) *Last Night*, was still working on his game here (and McDonald, honestly, I've always found a little lean this way). But there are definite flashes of great things to come.

The soundtrack's got an eclectic thing going for it. As with all three films in the loose 'trilogy' this one started (see also Highway 61, Hard Core Logo), this is a film about rock 'n roll, and is something of a document in this respect -- it features songs by the Cowboy Junkies, the Ramones, and Nash the Slash, to name a prominent few.

Overall, a strange sort of Northern Ontario travelogue -- but not exactly the Chamber of Commerce version. More the "come here if you like cold bleak scenery, and consider running over animals a sport" version. Highly recommended, if you're looking for something distinctive, memorable, and frequently, amusingly quirky.

Ramona is sent to recover a rock band (Children of Paradise) which is in danger of missing its final tour date, and on her surreal and absurd trip meets several strange characters, most memorably a frustrated wannabe serial killer who is struggling to get his career off the ground, and who claims to have been driven to his choice by necessity ("what other options do I have? There's not a lot of opportunities up here for social mobility. I mean you can either become a hockey player or take up a life of crime. And I have weak ankles, so there you go") played by screenwriter Don McKellar in the role and film which launched his now prestigious career as actor and writer/director. It's a simple story, and the several plot strands are brought together in a scene near the end that is a real love it or hate it section of the film, apparently.

The film works in almost every regard- the mosaic-like, episodic nature of the narrative, the clever, witty dialogue and surreal situational dramedy which would become Don McKellar's biggest asset as writer, the immense soundtrack, even the direction by Bruce McDonald. "Roadkill" is, perhaps, my favorite ultra-low-budget film, simply because it's got an energy and verve that more than compensates for any flaws, and while it works brilliantly on its own terms, "Roadkill" is a conventionally flawed film, I suppose: there is some bad acting, and thanks to its non-existent budget and the fact that it was shot on 8mm, it doesn't look especially great. Still, one thing that struck me most on this latest viewing was how well-made the film is, all things considered. The editing works, even the potentially pretentious jump cuts, and there's some really good photography, especially considering the medium.

The most special thing about "Roadkill", perhaps, is that it isn't limited by the time or location it's set in, or when it was released. When I saw the film at age 18 at a screening populated mostly by people too young to have seen the film when it became a pre-Tarantino, pre-"Clerks" indie hit in 1989/1990, the enthusiasm the audience had for the film was palpable. There is an inspired energy about this film that makes even the superb screenplay seem insignificant in comparison to the conviction and enthusiasm the film was made with. When the film received a standing ovation at the end, it was out of sheer enthusiasm, and not out of polite respect.

The end result with this film is sure to be polarizing, and the humor probably won't work for a lot of people, but this is low budget gonzo film-making at its best, and to learn the whole story behind the film and the dubious methods of promotion those involved used (including getting the soundtrack on the Canadian charts by sneaking copies off record store shelves) one simply must listen to the commentary track on the DVD, which is easily as entertaining as the film itself, if not more. This is an essential piece of Canadian film, the birth of modern Canadian independent film-making, and in my estimation one of the most deserving winners of best Canadian film at the Toronto International Film Festival. The pseudo-sequel to this, "Highway 61", often feels like a pale imitation and has about a tenth of the charm, but it's still worth watching. The third film in McDonald's 'road trilogy', "Hard Core Logo" is nearly as good as "Roadkill" is, and more technically polished.

This is a totally awesome film. I first saw it when I was 17 and I have watched it many times since, each time gaining something new out of it. Surprisingly philosophical, "Roadkill" will make you think about life, purpose and the universe, it will also make you laugh and, yes, it will make you hum along to it's rocking soundtrack too. From the atmospheric black and white cinematography, to the evocative landscapes of Northland Ontario, to the magnificent, likable and witty character realizations, this is a seminal film that takes an original slant to what could have been a dried out and dusty subject; every member of the cast and crew give superb performances and I love them for it. Can you tell that I'm a fan? Don't, however, expect anything of the same high standard from the kinda sequel "Hard Core Logo", which I found to be pretty lame indeed. In sum, "Roadkill" rules and, to be honest, no sequel (no matter how 'kinda') could ever do it justice.