If there’s a reason for this dual role, it never becomes especially clear—beyond giving the actor a chance to sing near the film’s climax and engage in a series of sporadic and meandering mumble-offs with himself. Rollins—who gives a performance that could have been copied from any number of “crazy” crime boss characters over the years —plays just one of several oddballs standing in the way of McHattie’s efforts to turn himself into an older, more lackadaisical John Wick. Dreamland is available on DVD and HD digital download now via Bulldog Film Distribution. Both even, like actual identical twins, share a certain peculiar physical attribute. On another level, though, these words point to the way these two very different people – the musician and the killer – slowly circle and merge into each another until they end up as different representations of the one multi-faceted character. ‘Dreamland’: Film Review. With Stephen McHattie, Henry Rollins, Juliette Lewis, Lisa Houle. Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. But if Dreamland has more on its mind than just perfunctory violence married to a run-of-the-mill redemption plot, then it both under- and over-plays its hand. So it goes for this story of a grizzled hitman (veteran character actor Stephen McHattie, reuniting with Pontypool director McDonald) who grows a late-life conscience after learning that his latest kills have allowed his boss, Hercules (Henry Rollins), to expand into the apparently lucrative child prostitution trade. In 2008, director Bruce McDonald and writer Tony Burgess teamed up to make Pontypool, whose twist on the zombie genre was highly original and influential. RELATED: Audiobook Review: ‘In Ventre Tuo: Tales of Gore and Madness’ HGL: When I watched Dreamland and saw Stephen in both roles, he seemed so perfect, like this was written for him. Mostly, though, Dreamland just sleepwalks. Not that this should come as any great surprise as it comes from cult director Bruce McDonald. Bruce McDonald’s film plays out in a world that is at once recognisable and yet constructed from the artificial trappings of pure genre. It was a trip. It is just one of several ways in which the film tells a story of children falling victim to adult predation, alongside Hercules’ pimping of young girls, and the Countess’ readiness to make children available for the pleasure of her party guests. After all, the maestro musician, a Chet Baker figure who mixes jazz mastery with a hard heroin habit, is never actually named in the film. Yet in Dreamland, confusion over people’s names is a mindset with which the viewer will easily be able to Identity. Pontypool director Bruce McDonald is behind the camera for this horror crime thriller, which stars Stephen McHattie, Juliette Lewis, and Henry Rollins. Mostly, though, Dreamland just sleepwalks.McDonald tries to liven things up with some elaborate crosscutting and superfluous flashbacks, but the film draws most of its energy from two sources, neither of which end of up doing it any favors: a series of flamboyant minor characters and an ugly and recurring obsession with the sexual exploitation of children. And the hitman who briefly pursues him, though repeatedly asked for his own name, reveals it only in the film’s final scene. Lupita Nyong’o defends a group of school kids from a zombie horde in Abe Forsythe’s tame comedy-horror. There is even, amid all the contract killings, child gangs, criminal undertakings and climactic shoot ’em up, a bizarre element of Gothic, as the Countess’ brother (Tómas Lemarquis) – a literal vampire – seeks to marry Olivia for her virgin blood. The setting is an unnamed European city, where the hitman has been sent by his gangland boss Hercules (Henry Rollins) to remove the pinky from a ‘maestro’ trumpet player (also played by McHattie) whose sole offence was to forget narcissistic Hercules’ name. The very end of Canadian director Bruce McDonald’s 2008 feature “Pontypool” featured a brief post-credits coda. And both are played by the same actor, McHattie, whose presence in these dual rôles (sometimes in the one scene) serves as a constant reminder that these two characters represent different sides of the same coin: a soul lost in an amoral limbo, hoping to find peace and somehow to remain himself in his passage to the other side. A vampire, a femme fatale, a handful of severed fingers and a ballroom full of music, machine gun fire and mayhem...it's just another night in Dreamland. Juliette Lewis In fact, Pontypool was a big influence on how I wrote Dreamland; came up with the idea. A surreal coda sees the pair, now renamed ‘Johnny Deadeyes’ and ‘Lisa the Killer’ and dressed as characters from genre pictures, attempting to escape the infectiousness of normative language and thought by reinventing the studio space around them as “a new place that isn’t even there yet.” For years, there have been rumours that McDonald and Burgess’ film would be the first in a Pontypool trilogy (to be followed by Pontypool Changes and Pontypool Changes Everything). A dreamworld, so to speak, built on a foundation of cinematic tropes. The last time director Bruce McDonald teamed up with writer Tony Burgess was for Pontypool, an ingenious and sophisticated horror film in which the vector for a zombifying virus is language itself. by Logan Myerz Today, I had the pleasure of interviewing Bruce McDonald, best known for his 2008 zombie film Pontypool, about his newest dystopian noir thriller, Dreamland. Stephen McHattie plays the two lead roles in 'Pontypool' director Bruce McDonald's gonzo noir fantasy 'Dreamland,' also featuring Henry Rollins and Juliette Lewis. McDonald all but shouts his subtexts at the audience, from the suited child soldiers who serve Rollins—the master of an underworld power base literally dubbed “Al-Qaeda”—up through scenes of global elites gathering to politely clap as a virginal child is fed to a simpering vampire. Dreamland has McDonald teaming up with many of his … Much like the title suggests is offers a curious tableau of dreamlike scenes that skates over a variety of genres - from crime to comedy to fantasy to horror. Dreamland reunites the director with the film's star, Stephen McHattie, who plays… We believe in Truth & Movies. @AntBit, Henry Rollins That journey towards death is expressed through several genres, stitched surreally together: the neon-lit noir of Hercules’ club (called ‘Al Qaeda’) below, the Countess’ fairy tale castle above, the Kafka-esque labyrinth of streets in between. Pontypool director Bruce McDonald makes his return with Dreamland, which had its North American premiere at last summer’s Fantasia Film Festival in Montreal. For while its hard-boiled escapades can be watched and enjoyed even by those who know nothing about Pontypool, Dreamland offers the nichest (but also richest) of pleasures to the already niche audience of those who know and love McDonald and Burgess’ previous collaboration, whose characters and events it reconfigures and translates into entirely different cinematic idioms. for their crimes against humanity, even as you feel repelled at the obvious manipulation of the subject matter. Seems simple enough, but the gig is a wedding at the palace of crime queen The Countess. Directed by Bruce McDonald. With a chunk of money from the Film Fund Luxembourg, and a free floating screenplay from Tony Burgess, (who also wrote the aforementioned etymological zombie movie Pontypool) Dreamland … But in the meantime, Dreamland serves as a sort-of side-quel, branching out from the coda to Pontypool, as the hitman (whose late-revealed name you can probably guess) is living out an escapist genre fantasy, occasionally partnered up with Lisa (Houle again), who now works at Al Qaeda. Dev Patel is on fire in the new trailer for The Green Knight, Army of the Dead review – Zombie Tiger innocent, From far, far away to 4chan – The surprising legacy of Shrek, How personal trauma and national tragedy inspired Grave of the Fireflies. A clever if truly niche double to Pontypool. “W e’re in a different world,” says a grizzled hitman (Stephen McHattie) of his surroundings near the end of Dreamland. Stephen McHattie. Kevin Burwick May 28, 2020 Stephen McHattie. Now, 12 years later, with the help of writer Patrick Whistler, the duo has come up with one of the weirdest, funniest, and craziest films I’ve seen in quite some time, Dreamland. Stephen McHattie, Henry Rollins, Lisa Houle, Juliette Lewis, Tómas Lemarquis. Those expecting Bruce McDonald’s Dreamland to be the next Pontypool are probably going to end up disappointed since even though Tony Burgess returns as a screenwriter, along with co-writer Patrick Whistler, the film is a much more surreal and somewhat less accessible viewing experience. He’s not wrong, and the clue is in the title. McDonald previously worked with screenwriter Tony Burgess (who co-wrote Dreamland with Patrick Whistler) on the 2008 cult classic horror movie Pontypool, which also starred McHattie and also took some strange turns, although its odd detours came with more satisfying payoffs. “We’re in a different world,” says a grizzled hitman (Stephen McHattie) of his surroundings near the end of Dreamland. The introductory sequence includes a host of random and over-the-top characters, some needlessly complex timeline jumps, and a rising sense of impending sleaze—all capped off with a moment of violence that’s meant to feel shockingly casual but which largely comes off as distracted and disinterested instead. This is a must-see cinematic trip for fans of McDonald and McHattie. A mother-son relationship is stretched to its limits in this affecting and chilling Irish horror. On the night of the strangest wedding in cinema history, a grotesque gang boss hires a stone cold killer to bring him the finger of a fading, drug-addicted jazz legend. If so, it’s the sort of dream you’d be hard-pressed to remember once you’ve finally awoken from its grasp. Pontypool director Bruce McDonald is behind the camera for … McHattie’s performance as the nameless hitman does at least serve as the anchor that keeps the movie from flying fully off the rails, and the sight of him stalking through a crowd—a gaunt revenant clad in out-of-date fashions scavenged from the fall collection by Tom Waits—provides some of the film’s most striking shots. “Dreamland basically came from those 45 seconds,” McDonald said in a phone interview from his home in advance of the movie’s streaming debut this week. Stephen McHattie and Lise Houle in Bruce McDonald’s Dreamland. Giggling and cheerfully malevolent, Lemarquis’ character feels like a refugee from another draft of the script, one where Dreamland was less mournful and solipsistic, and more boldly nihilistic in its attempts at dark comedy. It is as though McDonald’s film starts out a bunch of stories, and ends up as one. So you bet I was excited for "Dreamland", a movie that potentially has the makings of my beloved genre of arthouse, and has "Pontypool's" front team - director, writer and lead actor. McDonald tries to liven things up with some elaborate crosscutting and superfluous flashbacks, but the film draws most of its energy from two sources, neither of which end of up doing it any favors: a series of flamboyant minor characters and an ugly and recurring obsession with the sexual exploitation of children. The two come together in gruesome synthesis in the form of a character played by Tómas Lemarquis, a literal bloodsucker with a fashion sense pulled from a Murnau movie and red-rimmed eyes fixed firmly on his would-be child bride. Taking viewers on a trip that intentionally defies logic, McDonald has let it be known that the film is a sequel, of sorts, “ to a coda at the end of the credits in Pontypool. McHattie's latest film, Dreamland, is a doozy. Dreamland is one of the weirdest, wildest movies I’ve ever had the pleasure of seeing and I was more than happy to talk to legendary Canadian director Bruce McDonald about his achievement.I have enjoyed many of his other films, of course, Pontypool, but also Hardcore Logo, This Movie is Broken, Weirdos, Picture Claire and many more. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. In the end, Dreamland never bothers to decide whether it’s trying to be an elegiac, philosophical head trip or an over-the-top action thriller. Dreamland Preview Takes a Stab at Henry Rollins [Exclusive] Pontypool director Bruce McDonald brings the world a new horror crime thriller on VOD June 5. After all, both are professional artists struggling for integrity in a degraded world of compromise and corruption. Freely adapting from his own ‘unfilmable’ 1995 novel ‘Pontypool Changes Everything’, Burgess confined Pontypool’s events to the vantage of a snowed-in radio studio where shock jock Grant Mazzie (McHattie) and his producer Sydney Briar (played by McHattie’s then wife Lisa Houle) slowly realise that Mazzie’s irony-tinged, free-associative on-air patter may be as much cause as cure of the evolving apocalypse. That ongoing obsession with pedophilia contributes to the film’s overwhelming scuzz factor, too; you can’t help but root for McHattie to kill Rollins et al. On the orders of his gangster boss, hit man Johnny must cut off the pinkie finger of a celebrated jazz trumpeter before a high-profile gig. Pontypool director Bruce McDonald makes his return with Dreamland, which had its North American premiere at last summer’s Fantasia Film Festival in Montreal. The director and star of cult horror hit Pontypool reunite for a hard-boiled hitman noir. Twelve years ago, Pontypool pulled the rarest of feats. Most of its big-name stars behave as though they’re in a pitch-black comedy, while McHattie shuffles through the proceedings like a man damned, leaving a split at the movie’s core—one from which it never really recovers. Twelve years ago, Pontypool pulled the rarest of feats. It was the product of McDonald’s writing collaborator Tony Burgess (who also wrote the novel that inspired Pontypool). Tags: Dreamland is the latest offering from beloved Canadian director Bruce McDonald, of fan favorite Pontypool and, more recently, the delightfully festive yet divisive Hellions, fame.The movie’s synopsis confidently proclaims, “On the night of the strangest wedding in cinema history, a grotesque gang boss hires a stone cold killer to bring him the finger of a fading, drug-addicted jazz legend.” Review by Anton Bitel Pop culture obsessives writing for the pop culture obsessed. Credit where it’s due: Bruce McDonald’s new, not-especially-thrilling thriller, Dreamland, lays out everything it has in store for its viewers in its first five minutes. Both seem at times to experience extra-sensory perceptions of what the other is doing elsewhere (“he can be in two places at once,” as Hercules says of the maestro), as though they are intimately, impossibly connected. The result is a truly strange film. Dreamland takes place on … Pontypool’s wordplay replaced with (occasionally meandering) genre play. Both serve masters – respectively the thuggish Hercules and the unscrupulous Countess (Juliette Lewis) – whose decadent makeup demeans everyone around them. A mighty flawed one, but soaked in weirdness, and we love the oddballs, yes we do. The film brings a solid cast of actors including Stephen McHattie, Henry Rollins, and Juliette Lewis. Nicolas Cage encounters an unholy cosmic terror in director Richard Stanley’s HP Lovecraft adaptation. "Dreamland" is a weird trip of a movie. He’s not wrong, and the clue is in the title. A psychedelic throwback to the acid-soaked esoteric experimental films of the 1960s , Dreamland , as the title suggests, follows its own dream-inspired logic as it tells the story of a rogue hitman and a heroin-addicted jazz trumpet player. It was original for a zombie movie and intrinsically Canadian (the disease was transmitted via language). ” Beyond this tidbit, we can tell you that Dreamland is definitely niche, and its whirligig plot is apt to make your head spin. It was original for a zombie movie and intrinsically Canadian (the disease was transmitted via language). McHattie's meatiest role arguably came courtesy of another stalwart of Canadian cinema, director Bruce McDonald, who cast him in the lead role of a gravelly voiced radio show host in his 2008 horror movie Pontypool, perhaps the most interesting of the wave of zombie movies that proliferated during the noughties.McHattie reteams with both McDonald and Pontypool writer Tony Burgess for Dreamland … The title suggests that Dreamland’s sleepy pacing and nonsensical plotting are meant to be a feature, not a bug. If Dreamland concerns itself with bad people ‘breaking good’, and shows the hitman and Lisa working together to save a victim of child abuse and exploitation, this redeems not just the hitman, but also his other double, the DJ Mazzie, who in Burgess’ original novel, if not in the 2008 film, was himself a paedophile – and who here seems to be struggling to divest himself of that guilt, and to wash away the blood on his hands, before he can finally rest in peace. Only the names have been changed. “We start out a bunch of people, but we end up as one.” On one level, the conflicted hitman is alluding to transformational moral decisions he has just made – to spare the maestro, to save the girl – bridge-burning, life-altering decisions which will set the hitman on a path against his former employer Hercules, while cementing his own character. From the makers of Pontypool, with the same key cast! Hell, nobody wants to make movies because it’s so expensive. Those are big, hypothetically political swings from a movie that’s so otherwise simplistic that it draws the line between its good guys and its bad guys based entirely on whether they’re on board for selling children into sexual slavery. The director and star of cult horror hit Pontypool reunite for a hard-boiled hitman noir. Henry Rollins Dreamland occasionally feints at some sort of metaphysical connection between the two men, but then it feints at a whole bunch of things, never to much effect. The film takes place on … “You have to understand one thing,” the hitman tells the young boy Dario (Morgan Csarno-Peklar), after agreeing to help rescue his 14-year-old sister Olivia (Thémis Pauwels) from child prostitution and sex trafficking. 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