When I hear cult-auteur Don Coscarelli is working on a new film I get pretty excited, I read a synopsis and my excitement grows, Angus Scrimm (the Tall Man!) signs on for a cameo and I find out the film is based on a book reputed to be “unfilmable”. I swoon in my soul.
What you’ll notice first is that Coscarelli hasn’t sabotaged his aesthetic in taking his closest step into the main stream; the general look of the film and its cast, which includes the fantastic Paul Giamatti, may scare away some seasoned fans of that garage-feel of his early films. Don’t fret however, there’s plenty of his usual nonsense crammed in John Dies at the End to make up for that.
If there was a genre called fucking with the future, or unravelling the universe, then John Dies would definitely be a perfect example; it aint time travel and it aint really anything else. You just have to see it and try to let it happen. Essentially it’s the story of a new street drug that pushes the boundaries of human physics, and how two friends are dragged into a mess of alien invasion through the drug, but it’s so much more. It’s like a more elaborate Phantasm on acid.
Chase Williamson and Rob Mayes hold their own throughout as Dave and John respectively, a pair of Coscarelli heroes if ever there was. Giamatti is great, as a wry and doubtful journalist, Doug Jones (he plays all your nightmares in del Toro films) pops up as an alien, and Clancy Brown plays an egocentric exorcist. Special mention goes to Glynn Turman as the cynical old-school detective caught up in something he doesn’t understand. Three guesses as to who I sympathise with most.
Earlier I mentioned context: that’s an important word when you consider Coscarelli’s CV. Don’t question his world too deeply, you won’t get answers, don’t pull a ridiculous face when things get crazy, because I promise it will get weirder. Sit back and watch, enjoy, savour every stupid moment courtesy of a sharp script and a director obviously having the time of his life.
The embodiment of the “Marmite Film”, John Dies at the End will polarise audiences and perhaps even Coscarelli fans. It is entirely unforgiving in its embracement of the bizarre, silly at times, hilarious at others, conceptually intriguing, and above all entertaining. Miss it if you dare.