This review first appeared in a slightly different form at Film Forager. Alex Kittle’s complete coverage of the Toronto After Dark festival can be found here.
DIRECTED BY: Astron-6
FEATURING: Adam Brooks, Conor Sweeney, Matthew Kennedy, Mackenzie Murdock, Amy Groening, Lloyd Kaufman
PLOT: A crazed cannibalistic killer goes after fathers in his rape/murder spree. One-eyed assassin/maple syrup maker Ahab, young priest Father John Sullivan, paranoid streetwalker Twink, and mystery-solving stripper Chelsea all seek revenge, teaming up for a strange and scattered mission.
WHY IT MIGHT MAKE THE LIST: An eye-patched vigilante, a topless stripper with a chainsaw, a nearsighted cannibal rapist, incest, demonic possession, trips to both heaven and hell, a non sequitur commercial for low-budget sci-fi “Star Raiders,” hallucinogenic berries: Father’s Day has a lot of weirdness to recommend it. It starts off as a fairly standard (and insanely gory) grindhouse throwback, but evolves into a bizarre and fantastic adventure that just might be weird enough for the List.
COMMENTS: Known for their impressive output of horror and comedy shorts, Winnipeg-based collective Astron-6 combines DIY filmmaking with a sick sense of humor and unadulterated love for 80’s straight-to-video schlock. After making a trailer for the fake exploitation flick “Father’s Day,” Troma offered the group $10,000 to produce a full-length feature of the concept. At the start it seems like a standard, and completely gruesome, grindhouse throwback with grisly close-ups of penis mutilation and sickening rape/murders set alongside over-the-top character archetypes and an enthusiastic score. As Ahab (Adam Brooks), Father John (Matthew Kennedy), and Twink (Conor Sweeney) team up in the wake of several close-to-home father murders, it begins to take a turn for the ludicrous and eventually plunges into all-out wacky fantasy, seeming to forget its initial narrative and stylistic leanings—and becoming better for it.
With real pig intestines, buckets of fake blood, and a well-laid green screen, Father’s Day maintains a dark, grungy aesthetic that works well with its 70’s appropriations while exuding DIY innovation that sets it apart from some of its peers. Steven Kostanski’s stop-motion hell creations and an extended trip around the world for Father John are among the many segments that vary in style and tone. There’s even a goofy commercial for a fake Star Wars rip-off thrown in about two-thirds of the way through (the feature itself is introduced as a “midnight movie” tv program). Astron-6 seems to have hundreds of ideas and little interest in streamlining, resulting in a surprisingly dense 99 minutes as myriad references, off-kilter jokes, side-trips, and subplots arise and descend. Luckily, most of them work, but the ones that don’t result in some unevenness, especially in the overall tone. The noticeable shift towards the middle is somewhat jarring, but not a dealbreaker.
Father’s Day may be sick and twisted in many ways, but it manages to be most of all fun. The Astron-6 gang looks like they’re having a blast just being silly together as the plot becomes more and more ridiculous. The whole cast is great, injecting equal amounts of parody and imagination into their roles, and I especially enjoyed the main three male leads, who have excellent comedic chemistry. The film’s biggest flaw is its tonal inconsistencies, but for many viewers the inclusion of so many ideas and exploitation references will likely be appreciated. Astron-6 decided to really go all-out for this film, and by holding nothing back they will impress many and alienate those who wouldn’t get it anyway. And I have a feeling they’re fine with that.
WHAT THE CRITICS SAY:
“A Trip to the Orphanage” appears to be an outtake from Saddest Music, reimagined as a pure mood piece. The finale of “Orphange”—when Maria de Medeiros kisses a sleepwalker on the cheek, and he says “goodnight, mother” to her—actually appears in the film. There, the episode has no explanation. You won’t get one in “Orphanage,” either. The man walks through a wintry street with a sleepy, dazed expression. We also see shots of de Medeiros’ China doll face, and briefly view her posing with an anonymous child. A woman appears and sings a generic aria of lament: “so fraught with pain his yearning soul…” A sparse piano accompanies her. Snow falls over all the characters, and lace curtains billowing in the wind are superimposed on the picture; sometimes there’s one set of drapes waving in the foreground and a second set in the background. Singer Sarah Constible’s voice is opera-trained and lovely, and “Orphanage” is a Canadian saudade that’s as melancholy as a lone snowflake drifting on the wind. It’s also just as light, and in a mere four minutes it’s there and gone, just like a dream.
“Sombra Dolorosa” returns us to more familiarly comic Maddin territory, with a deranged plot, hysterical intertitles (“to save your daughter you must defeat… El Muerto!!”), and the same psychotic editing that characterized 
