Ex Drummer DVD: Review By Bryan Yentz

What can be said about a film which disregards all levels of morality? That tears and mutilates all aspects of taste and decency? That wallows in its own cinematic filth and grime, chuckling as it does so. What can be said? Well, a lot in fact--especially when it's this audacious, stylized and unforgiving. Think of it as Trainspotting and The Pusher trilogy induced with a straight shot of steroid-powered insanity.

Ex Drummer tells the morally bankrupt tale of three "handicapped" junkies looking for a drummer to complete their band of psychopaths... And I use quotes because these delinquents are referenced as "handicapped" because one has a lisp, one is deaf, and one is gay. Anyways... In their brief search, they discover Dries (who's possibly playing himself as the real actor is named Dries Van Hegen), a famous writer whom--unknown to the desperate group--is unable to even play the drums. Observing the situation as a means to write a new story--and to just get his rocks off--Dries accepts their offer and joins the band which he later helps deem, "The Feminists". With their loyalty gained, Dries begins to manipulate each of the members for his own gain as he leads their already twisted lives to an uncertain fate.

Once this film was over, I wasn't sure how to feel about it... Hell, I'm still having trouble figuring it out. While the film is directed with a nihilistic integrity, I couldn't help but feel like the entire experience was just soulless. And not in a blasé, actors-not-giving-it-their-all kinda way, I'm talking downright repugnant in its display of... Well, everything. It has no regard for what anyone watching thinks or believes. Merely calling it unpolitcally correct is a gross understatement. Nearly every facet of this film is a corroded, empty shell of hopelessness-yet none of the subjects seem to mind it in the least--nor even realize it. Despite this, however, Koen Mortier (who also penned the novel-based screenplay) directs with an unbridled pizazz which creates certain beauty out of all of the ugliness. The depiction of things as is, and not a cleaned-up version, create a definite sense of realism that's so tangible that it makes one feel like they could become just as dirty or sick simply watching the screen. Alongside this, the film is drained of its color--not black/white--but brought down to such a level that both the exterior and interior locations alike seem dead. Taking things a step further however, Mortier amps up the directorial style in an effort which almost seems to be having fun amidst all of the degradation. The introduction to the film alone is a nifty spark of ingenuity as it begins with an introduction, and then follows the three members of the band in reverse motion, all the while displaying the beginning credits in equally creative methods along the varying environments. Other sequences have the camera upside down as the bald singer walks about the ceiling in his drug-fueled state, all the while, Dries stands below him as he tries to "talk him down". Honestly, it's this feverish, randomized direction that really gives the film punch, as while it's consistent, it always makes you wonder how the next scene and will play out.

But even with all of the fancy cinematography and direction, the story itself is rather weak. Since you know Dries motivation from the get-go, you're more or less just waiting for his execution of the entire plan. Because of this, the film carries out as more of a volatile character piece than a single cohesive story. And in that sense it can be a hard watch because there are no positive characters. Interesting, yes. Good, no. Dries himself is quite a--dare I say cool?--character, simply because of how he carries himself. He knows what he can do and say, and what he can do and say is everything and anything. He's so driven by his own god-complex that others see it too, and they fear him all the more for it. One scene has Dries headbutt the gay lover of the bass player for no other reason than his sexual orientation. As the frightened man hits the ground with dark blood pouring out of his nose, no one--not even the bass player--lift a finger in defense. Then again, it should come as no surprise since the rest of the cast are truly less than the pool of sick you'd find culminating within the confines of a gas station toilet. There are no heroes here, just personalities that are as ugly and withered as the environment they've kept themselves in. In this regard, it makes Dries all the more interesting as his lifestyle completely mocks theirs. While they live within ruined apartments, shacks and hovels, he dwells within a high rise as he drinks, smokes and enjoys many a threesome with his girlfriend and her lady-friend. Furthering this juxtaposition, is the way that this lifestyle difference plays out in the film's jaw-droppingly surreal finale, in which we see the culmination of Dries' influence on each of their lives. Editing jumps between all of the characters, the transpiring events, and what Dries happens to be doing at the time of said events. It's an interesting dynamic, if not an ethically empty one.

Understandably, the film's blunt representation of its people and places is also its biggest problem. Put simply, this flick is vile with its attribution of violent, crude, and sexual content. Actually, it's outright pornographic at times with scenes that would even make Lars Von Trier wince. This cruel handling of content creates a work which is at points (if not most) hateful towards gays, towards the handicapped, and even misogynistic. The narrative definitely develops various sickening moments that almost feel as if they were shot as a means for Mortier to say, "Screw all of you out there!!! Look what I'm doing!!!". Much like a director as Tom Six, I can't see why some of the film's portions were left in (or even shot) other than to revile. And in that regard, it works because some thankfully brief portions are utterly uncomfortable. Now, I know a big question is, "So how on earth did you even have any appreciation for it, Yentz?" And well, I'm still not sure if I did. The film leaves an impact and a heavy one at that. Much like Antichrist, this film will absolutely divide viewers like the Red Sea. For me, while I'm not on one side or the other, I see this film as an interesting story made all the more interesting by its complete denial of what's right and wrong. While I in no way condone the themes or beliefs of director Koen Mortier (or the book's author Herman Brusselmans), I still find the film to be quite the compelling, yet draining experience.

Accompanying the film is a great punk-rock soundtrack that causes many a scene to play out like a music video. Much like the foreign skin flick, "9 Songs" (because people watched it for the story), the music becomes a character in and of itself as it's the sole reason for Dries even coming into the picture in the first place. Because of this, the music hits hard and fast delivering some deliriously engaging tunes that work alongside the ever-building chaos and malice at hand.

Ex Drummer is a tough film because of its uncompromising vision. It yields to no one, and almost serves to force its own brand of hopeless, mean-spiritedness upon those who watch it. One critic went as far as deeming it "the worst Flemish film ever made". The irony of this statement? That the filmmakers used this vituperative view to promote their movie via its trailers. This is a film that I'm split on, and time will only tell how I truly feel about it. As it is though, I can't deny the unrestrained, visually searing, and mind-numbing way in which it's all executed. It's a picture that will (and should) revolt most viewers; make people chuck their copy into the fire. But there's something to be said about a film that makes you feel that way. Good or bad, that's up to you. Either way, you've been warned.

N/A

The film is directed with flair amidst all of the grime. It's a sort of beautiful ugly. It's presented in a 2.35:1 widescreen format.

It sounds great and has a heavy soundtrack. It's presented in Dutch with English subtitles.

A cool cover depicts the bald, lisping guitar player with his back to the viewer. A tattoo on his back states "God is D Evil" or it could be "God is Devil". Not really sure. The cover shown for this image is the original packaging, but not the finalized. It depicts the same guitarist standing on the ceiling in his drugged state.

I said it before, I'll say it again, this film is going to divide everyone watching. It may be ugly, unflinching and horrific, but it's also masterfully shot, clever, and has some groovy beats as well. It's a toss up of an experience.