ately after, still grin-
ning, shook his head and offered, "What a piece of shit."
"No," TrustMovies countered, "these guys are trying to reinvent the horror film. And I think they've done a good job of it!" These guys are Canadian director Bruce McDonald (shown right, who earlier gave us The Tracey Fragments and -- as director/co-writer -- the Canuck Indian movie Dance Me Outside: two disparate films with little more than Canada in common) and Tony Burgess, who adapted the screenplay from his novel Pontypool Changes Everything.
As someone who's been begging of late for a genuine reinvention of the zombie movie, I couldn't ask for much more than the new McDonald/Burgess collaboration, PONTYPOOL -- which adds class, wit and intelligence (semiotics anyone?) to the realm of the flesh-eating undead. (Though it's almost unfair to count this film a "zombie" movie, as its concern is more the virus than the infected.) From the credits onwards, McDonald demonstrates a love of the visual that is both beautiful and unsettling -- and very unlike the obvious, aren't-we-fragmented look of his heavy-handed Tracey Fragments). Here, his interesting, well-composed, wide-screen images are all the more surprising because most simply show us the basement of a drab church, and in particular, the even more confining space of a sound studio. This is not the usual subject of a Panavision lens, so credit must be paid to cinematographer Miroslaw Baszak for making us pay such keen attention.
BrightHouse: Movies On Demand - IFC In Theaters
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All photos from Pontypool by Miroslaw Baszak.