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“John Dies at the End” review: A demented, dimension-hopping good time

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Some films are easy to review. You assess the director’s presentation of the story, note the highs and lows of the cast’s performances, offer some critique of the writing, set pieces, or any other standout elements of the film, and then call it a day.

“John Dies At The End” is not that sort of film.

Like “Naked Lunch” or “The Adventures of Buckaroo Banzai Across the 8th Dimension” before it, “John Dies At The End” is a weird, wild, and wonderfully unique film that defies just about every convention that critics – and traditional media – throw at it. And while that’s usually a recipe for disaster, “John Dies At The End” somehow manages to make all of its disparate elements work together into a fun, crazy adventure that carries you along for the ride instead of making its audience feel perpetually left behind.

Directed by Don Coscarelli (“Bubba Ho-Tep,” “Phantasm”) and based on Jason Pargin’s trippy horror novel of the same name (published under his pseudonym David Wong), “John Dies At The End” follows a pair of slackers whose experience with a new drug called “soy sauce” reveals the existence of an interdimensional invasion occurring all around them. As they get caught up in thwarting the invasion, the drug’s effects on time and space push them into confrontations with all manner of strange creatures and leave them uncertain of what’s real and what is simply another hallucination.

The film stars Chase Williamson as protagonist and narrator David Wong, and a similarly unfamiliar face, Rob Mayes, as David’s stoner pal, John. Paul Giamatti, Clancy Brown, and Doug Jones highlight a short list of well-known actors who appear throughout the film in a variety of appropriately weird roles.

Not having read Pargin’s 2007 novel, I can’t speak to Coscarelli’s faithfulness to the source material, but given the surreal nature of the story, “John Dies At The End” deserves praise for somehow finding the linear narrative in what could’ve been a terribly messy, tangled adaptation. Instead of falling apart into a series of weird, sci-fi vignettes, “John Dies At The End” manages to constantly move forward with the story it’s telling – even when it seems like a plot point or timeline has veered off into tangent territory.

Coscarelli’s knack for putting an unsettling, sinister spin on just about any type of scene – one of the hallmarks of his “Phantasm” films – gets a heavy workout in “John Dies At The End,” as there’s rarely any certainty about what’s real and what Dave and John have unintentionally conjured from their drug-addled, reality-warping subconscious. Still, there’s an underlying sense that the pair are taming the drug as the adventure progresses, and by the end of the film the ratio of chemically-induced terror to chemically-induced heroism (a twisted, non-traditional sort of heroism, but heroism all the same) gradually shifts into their favor. It’s a subtle transition that could’ve been easily overdone – or even not done at all – but Coscarelli does a nice job of turning his aimless slackers into our dimension’s best hope for survival.

Williamson and Mayes both offer up great performances in their respective roles, with Williamson playing off Giamatti particularly well during their scenes together. Neither Giamatti nor Brown (or Jones, for that matter) have particularly meaty roles in the film, but Coscarelli puts them to good use providing a big dose of flavor to scenes that might otherwise be a little dry. The entire cast, in fact, seems to find just right the balance in their performances to sell the over-the-top weirdness going on around them.

Still, despite all of the diverging, mingling, and meandering timelines that constitute the narrative of “John Dies At The End,” the story being told in the film still manages to stay on a linear course that separates it from many other failed adaptations of unconventional stories. There’s no shortage of mash-ups out there that try to blend elements of horror, sci-fi, and black comedy – often with a heavy dose of the surreal to lubricate the mix – but few of them manage to pull it off with any success.

“John Dies At The End” is a great example of what can happen when a writer and director’s vision syncs up with that of the author of something very unique, and very special. Only time will tell if “John Dies At The End” will achieve as similar a level of under-the-radar success as Coscarelli’s “Bubba Ho-Tep,” but it’s hard not to believe the film is well on its way to becoming a cult classic.

“John Dies At The End” hits theaters in limited release Friday, January 25. The film is directed by Don Coscarelli, and is based on a book of the same name by Jason Pargin (written under the pseudonym David Wong).

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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