Pontypool
What?
There comes a time in every genre’s lifespan where new ideas—good or bad—must be pursued in unexplored directions. Whether these innovative twists are beneficial to its host or not isn’t always a point of concern for a production team. Pontypool has taken a zombie genus that was on its deathbed, and pulled the plug. Rather than spoil anything for you…wait, whom I kidding? In the small Ontario, Canada town of Pontypool, individuals are turned into zombies by a word or a particular sound in a word. Yeah, speaking or chanting in an audible note and understanding the meaning change humans into flesh eating deadheads. Folks, we are officially out of zombie inspiration and I can’t believe it actually happened. However, I understand what Pontypool is going for. A sort of Orson Welles “War of the Worlds” on the radio, this movie is essentially about a zombie massacre told through a radio host while live on air. Initially, a close friend told me about what Pontypool attempted to do. Therefore, my rationale might be skewed, though after viewing the film, I can reconfirm his notion that a psychological zombie movie isn’t as fun as a visual blood fest. The movie is different in a strange and rather ineffective way. Don’t get me wrong, I’m all for originality, but I had a hard time making the connection Pontypool wanted me to make.
My devotion to Romero or Fulci and your “standard” type of living dead narratives won’t allow me to lower the bar where “contaminated words” spread a zombie virus. A novelty in its endeavor to challenge the status quo of zombie flicks; I can’t imagine this is going to earn a check mark from hardcore fanatics. Different and with flaws, Pontypool doesn’t add much to an aging genre.
Optics:
The film’s visuals are almost totally silenced save for a few symbolic colors. Overall, Pontypool’s image carries a dull mood, which relates well to the somber subject. I occasionally noticed a handful of smeared images along with an instance or so of crushed blacks. With a single setting and only a batch of on screen characters, the variety in location and colors are minimal at best. Therefore, comments about anything outside of a sound booth’s interior is hard to pontificate upon. Pontypool still capitalizes on its drab setting and integrates nicely to zombies kill people—albeit off camera.
Sonics:
Sound better play a pivotal factor if you plan to base a film entirely in a hundred-foot area—thankfully it does. Bass rumbles rather intensely from beginning to finish, music interchanges snappishly with the on goings and creates a suspenseful pacing that honestly does work in the film’s favor. DTS-HD 5.1 Master Audio can be felt—better yet heard—practically unabashed. If it weren’t for a well-rounded mix of sound, the film as well as the entire capability of the BD would run itself into a wall. Audio is indeed the strongest portion of this disc and the overall film. Pontypool’s track does demonstrate how important commanding audio truly is.
Extras:
Supplements can noticeably help a feature when it needs it most, thus is the case with Pontypool. “The Radio Play,” the director’s commentary, and a featurette called “Horror Collection: Eve/Dada Dum” shed some light on all things Pontypool. These, along with a stills gallery, theatrical trailer, and teaser trailer explain more of what exactly is happening on screen for over an hour and a half. Informative, though lacking in quantity, Pontypool’s extras are respectable.
Well?
Kudos for the imaginative effort on Pontypool’s behalf, but the postulation didn’t win me over. The video is like plain vanilla while the audio just so happens to pack a pretty powerful punch. Try Pontypool as a rental and if it feels good, own it.
Grant Iwan
There comes a time in every genre’s lifespan where new ideas—good or bad—must be pursued in unexplored directions. Whether these innovative twists are beneficial to its host or not isn’t always a point of concern for a production team. Pontypool has taken a zombie genus that was on its deathbed, and pulled the plug. Rather than spoil anything for you…wait, whom I kidding? In the small Ontario, Canada town of Pontypool, individuals are turned into zombies by a word or a particular sound in a word. Yeah, speaking or chanting in an audible note and understanding the meaning change humans into flesh eating deadheads. Folks, we are officially out of zombie inspiration and I can’t believe it actually happened. However, I understand what Pontypool is going for. A sort of Orson Welles “War of the Worlds” on the radio, this movie is essentially about a zombie massacre told through a radio host while live on air. Initially, a close friend told me about what Pontypool attempted to do. Therefore, my rationale might be skewed, though after viewing the film, I can reconfirm his notion that a psychological zombie movie isn’t as fun as a visual blood fest. The movie is different in a strange and rather ineffective way. Don’t get me wrong, I’m all for originality, but I had a hard time making the connection Pontypool wanted me to make.
My devotion to Romero or Fulci and your “standard” type of living dead narratives won’t allow me to lower the bar where “contaminated words” spread a zombie virus. A novelty in its endeavor to challenge the status quo of zombie flicks; I can’t imagine this is going to earn a check mark from hardcore fanatics. Different and with flaws, Pontypool doesn’t add much to an aging genre.
Optics:
The film’s visuals are almost totally silenced save for a few symbolic colors. Overall, Pontypool’s image carries a dull mood, which relates well to the somber subject. I occasionally noticed a handful of smeared images along with an instance or so of crushed blacks. With a single setting and only a batch of on screen characters, the variety in location and colors are minimal at best. Therefore, comments about anything outside of a sound booth’s interior is hard to pontificate upon. Pontypool still capitalizes on its drab setting and integrates nicely to zombies kill people—albeit off camera.
Sonics:
Sound better play a pivotal factor if you plan to base a film entirely in a hundred-foot area—thankfully it does. Bass rumbles rather intensely from beginning to finish, music interchanges snappishly with the on goings and creates a suspenseful pacing that honestly does work in the film’s favor. DTS-HD 5.1 Master Audio can be felt—better yet heard—practically unabashed. If it weren’t for a well-rounded mix of sound, the film as well as the entire capability of the BD would run itself into a wall. Audio is indeed the strongest portion of this disc and the overall film. Pontypool’s track does demonstrate how important commanding audio truly is.
Extras:
Supplements can noticeably help a feature when it needs it most, thus is the case with Pontypool. “The Radio Play,” the director’s commentary, and a featurette called “Horror Collection: Eve/Dada Dum” shed some light on all things Pontypool. These, along with a stills gallery, theatrical trailer, and teaser trailer explain more of what exactly is happening on screen for over an hour and a half. Informative, though lacking in quantity, Pontypool’s extras are respectable.
Well?
Kudos for the imaginative effort on Pontypool’s behalf, but the postulation didn’t win me over. The video is like plain vanilla while the audio just so happens to pack a pretty powerful punch. Try Pontypool as a rental and if it feels good, own it.
Grant Iwan
Director:
Bruce McDonald
Starring:
Stephen McHattie
Lisa Houle
Georgina Reilly
Hrant Alianak
Rick Roberts
Daniel Fathers
Best line:
"Mrs. French’s cat is missing."
Tagline:
"Shut Up Or Die!"
Description:
Spirit
UK
Region B
Rated 15
1Hr 36 Min
2.35:1
1080p/BD50
DTS-HD Master Audio 5.1
(English)
Subtitles: Eng
'Pontypool – The Radio Play'
Director’s audio commentary
'Horror Collection: Eve/Dada Dum'
Stills gallery
Trailers
Ratings: (Out of 10)
Film 4.0
Optics 5.0
Sonics 6.0
Extras 5.0
Overall 5.0
