Deadline (1980)

This weird Canadian quasi-horror film, about a writer of horror films whose life is falling apart at the height of his commercial success, is disjointed and crude in many respects. By accident, it winds up being pretty much exactly what the protagonist bemoans he's being forced by market pressure to create over and over again: A crass exercise in gory genre nonsense unimproved by much in the way of guiding intelligence, logic or ideas. Still, it's not at all your usual horror movie, and the ways in which it's bad are kind of interesting in themselves. The dominant element in "Deadline" isn't its horror content (though there are plenty of scenes from the hero's fictional work arbitrarily tossed in, involving killer nuns, bloody shower deaths, et al.), but its shrill misanthropy. The protagonist isn't an especially sympathetic figure—he's often defensive, egotistical and rude—but the movie makes sure everyone around him is much worse. While he may neglect his children somewhat in his obsessive attention to work, his awful wife (who has no such commitments, unless apparent infidelity counts) neglects them out of sheer boredom and selfishness, then rails at him for being a bad parent. She's a one- dimensional shrew. Equally shrill and obnoxious are his producer, his new movie's prima-donna star, the students who criticize his work as worthless exploitation when he's given a university award (though he secretly knows they're right)…nearly everyone here is demanding, shallow and parasitical. Even his kids are directed to act in a sort of constant-tantrum mode, though admittedly we're meant to understand that this is the fault of bad parenting. Of course eventually, after a tragic event, the writer hero snaps tether and can no longer distinguish beyond his imaginary horror and real life. This is supposed to be his mentally unhinged reaction against a world that continues to press him into ever-more-violent, disgusting, soulless (but lucrative) creations, insensitive to his disillusionment and trauma. Like everything else in "Deadline," however, this is handled in such an over-the-top, simplistic way it can't be taken seriously. The film's writer-director Mario Azzopardi only made one feature (in his native Malta) before this, then went on to a very long, still-active mainstream career in (mostly) Canadian TV. Given that, it's hard not to see "Deadline" as a likely last gasp of artist-as-an-angry-young-man spleen. (He was just 30 when he made it, though for whatever reason the film wasn't released for another five years.) It's a fairly incoherent statement of that type, but it sure has a lot of rancor to vent. The earlier horror stuff is so pointedly gratuitous it's possible it's just there to create a commercially viable package. But the loathing directed at the film industry and at the hero's wife is so central here that one can only imagine Azzopardi had suffered some not-atypical embittering career setbacks and a very bitter divorce when he conceived this movie. No idea if that's true, but it's as good an explanation of "Deadline's" peculiar, vehement, watchably odd content as any. It's like a slicker, less grungy equivalent to Abel Ferrera's concurrent (in filming if not release) "The Driller Killer," which similarly poses as a horror movie but is mostly an expression of the filmmaker's griping that nobody appreciates a real artist, and how awful people are in general.

This Canadian film is often sold as a horror film but it is actually a twisted drama. Stephen Young stars as Steven Lessey, a successful author and screenwriter who is having a bad case of writer's block. The works he has profited from don't satisfy him now and he is searching for "true horror" to write about. As the film progresses, his personal life begins to unravel alongside a series of hallucinations.DEADLINE is a mixed bag. Its biggest flaw is that there are no likable characters in the film. Young's character is a jerk and his wife is just as bad. I couldn't care less what happens to these self centered people. Director Mario Azzopardi also makes sure to distance mainstream audiences by filling the scenes from Lessey's head with extremely graphic gore. It is well done but probably sends the audiences looking for a drama running. However, the film does make some interesting statements on the influence of violence in cinema and some of the hallucination scenes are truly haunting. Cindy Hinds, the young girl from Cronenberg's THE BROOD, co-stars as Lessey's daughter.

Entertaining horror movie that offers gore, and a little hypocritical criticism of gore. Pretty well done.A mass-market horror novelist who also adapts all his works for films is having trouble on the set of his latest film, as well as writing the next book or screenplay he's contractually obligated to do. His wife and three kids are neglected, and he is abusive to her when they are together.When he lectures at the university he used to teach literature at, several of the students in the audience criticize his works. He's reminded of what he used to teach, and what he'd said to the director he works with when he first got into films: that once they were successful, they'd do something different. He thinks he's ready to write something different, but the director wants to stick with stuff he feels will sell.Scenes from the above storyline are intercut with scenes from either the author's movies, or ideas he has for movies. Movies are also shown within the movie, as when part of one of his films is screened for the students, and he shows another at a party. They're pretty bloody for the most part!The pressure of having to come up with a new work, trouble with his family, and a horrific event that happens within his family take him to the breaking point.

Long overlooked examination of a family man's spiraling madness is surprisingly brainy, and skillfully realized on meager financial rations. A horror novelist's dark fantasy world collides with his personal reality, causing a landslide of hallucinogenic dementia within both his family life and his his professional endeavors. A very ominous and disorienting Canadian-made nightmare oozing with abstract, disturbing imagery, DEADLINE is also spurred by able performers and imaginative directorial edginess. These refinements, together with a conceptually unique premise, catapult this film above and beyond most low-budget horror menu side-orders. 7/10...definitely worthy of a rental, if not a purchase.