Fantastic Fest fave Weirdsville opens Alamo tonight!

If you were lucky enough to check out this flick during Fantastic Fest, you will be happy to know that Magnolia is doing a limited theatrical release and it's happening this weekend at the Alamo Drafthouse South Lamar. There's not much word out on this title, and selling it on the strength of "from the director of PUMP UP THE VOLUME" only gets you so far... Anyhow, I thought the movie was a ball, and if you think so too, please tell your friends to come and check it out at the Alamo South Lamar.

Here's a few quotes from the Fantastic Fest attendee reviews:

"Upon Leaving: Cheeks ached and twitched, stomach felt like i did 1000 situps, and could finally catch my breathe and wipe the tears away(from both laughter and nostalgia, not from drugs, good friends). Drive Home: In Reflection, thoughts sparked, invigorated. Thanks."

"This is some of the best and funniest dialogue that I've seen in a long time. This is a rare plot where you can summarize it with loony details like "inept satanists" and "medieval midgets" and yet the movie itself doesn't devolve into mindless silliness."

"When watching this movie you're thinking to yourself...this is a cult classic unfolding before my eyes. The laughs are played out with pinpoint accuracy. The characters are straightforward in their zaniness and this only helps to enhance the insanity of this drug addled night. Little people gangs in Medieval costumes going after Yuppie-dressed Satanists while two junkies try and made some money they owe their dealer. It's that crazy and that fun."

Read the Austin Chronicle review.

Tickets for this show are on sale now at the Alamo South Lamar page.

Description from the Fantastic Fest guide:
Director Allan Moyle (TIMES SQUARE, PUMP UP THE VOLUME) returns to his Canadian roots with this year's Slamdance sleeper, which unfolds during a long winter night in a small Northern Ontario city called Weedsville, whose nickname supplies the pic's title.Two slackerish heroin addicts -- Dexter (Scott Speedman), a wry ironist who's trying to kick the habit, and Royce (Wes Bentley), a manic mood-swinger who overestimates his smarts -- make the mistake of indebting themselves to drug kingpin Omar (Raoul Bhaneja). Recklessly, they agree to settle accounts by dealing drugs for Omar.

When Royce's sweetie, Matilda (Taryn Manning), a part-time hooker, appears to fatally O.D. on the kingpin's product, Dexter and Royce reluctantly agree they should bury the luckless cutie in the boiler room of a drive-in where Dexter was fleetingly employed. Fortunately, they determine Matilda is still alive before they plant her in the ground. Unfortunately, they don't make this discovery until after they've interrupted some novice Satanists in the act of carrying out their first human sacrifice.

Moyle slyly grabs attention while establishing a sense of controlled chaos -- and an expectation that anything might happen -- with flashy cutting, accelerated action and drug-fueled fantasy sequences. But even as the style veers toward visual hyperbole, the substance of Willem Wennekers' ingenious script remains governed by its own internal logic.

WEIRDSVILLE lurches from one outrageous plot twist to the next, careening along a circuitous path that threads through the mansion of a brain-injured millionaire (Matt "Max Headroom" Frewer), a shopping mall and a back alley where a band of medieval re-enactors get medieval on the Satanists.

Deconstructionists will delight in divining the influences that inform WEIRDSVILLE, a cleverly constructed, capably crafted and often uproarious shaggy-dog black comedy that riffs on everything from TRAINSPOTTING and Quentin Tarantino to RACE WITH THE DEVIL and Elmore Leonard. (Joe Leydon, Variety)