Roadkill

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.

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.

Roadkill is the first feature film from Canadian director Bruce McDonald. I can't profess to know much about him; but his directorial style reminded me of Jim Jarmusch, though this film is more low-key than most of Jarmusch's oeuvre. This film is shot in black and white, and it's clear that the director had only a shoestring budget to work with. The film triumphs over its budget, however, and that's thanks to a constantly interesting script, a rather strange atmosphere and a handful of good ideas. The film takes place in the world of rock and roll and focuses on a young woman named Ramona. Ramona has been sent by her boss, who owns a record company, to track down a lost band named Children of Paradise. Because Ramona can't drive (despite claiming to her boss that she could), she is forced to hire a taxi to drive across the country in search of the missing band. Along the way, she meets a variety of weird and wonderful characters.

The film is very free flowing and it's never obvious where it's going to go next. This is a big asset to the film as it means it stays fresh and interesting for most of the duration. It does feel very raw, mostly owing to the lack of budget and the amateurish feel of the film is complimented by some rather casual performances. The lead role is taken by Valerie Buhagiar, who is not exactly the best actress you're ever likely to see; but actually fits the role well and her performance typifies the film. The film is about rock and roll and as such there's plenty of it featured. I've got to say that most of the songs featured in the film are not my type of music; though a number titled "We Will be the Leaders" by Nash the Slash is rather good. The film has a number of standout scenes that are likely to be remembered once it's finished; and a sequence with an aspiring serial killer is by far the best of them. Overall, this is a rather strange film and surely wont to everyone's tastes; but it's worth a look and I'd recommend it.

Ramona (Valerie Buhagiar) is a meek worker at a Toronto record label. The rock band 'Children of Paradise' has gone off the deep end in Northern Ontario. The record label chief wants to terminate their tour. Ramona insists on going north to find them for her job despite not knowing how to drive. It's a strange odyssey. The lead singer Matthew has disappeared. On the road, she encounters various characters including roadkill filmmaker Bruce Shack (Bruce McDonald) and aspiring serial killer Russell (Don McKellar).

This is a black and white cult Canadian indie rock independent movie. It starts with a compelling guerrilla filming of the Toronto Passion Play. Director Bruce McDonald has a sizable supporting role. He's not a good actor but often, an indie can't find good enough actors. This does have the intriguing Buhagiar and the wonderful McKellar. She is able to hold the center and he has some brilliant turns. I wish he is in more of the movie. There is great indie music from the era and this is utterly memorable.