Weirdsville The Movie

This was the official website for the 2007 stoner comedy, Weirdsville, which plays with the notion of making some of its lead characters slightly 3-dimensional.  There's a bit of black comedy, but generally the movie is just plain nutty. Content is from the site's 2007 archived pages and other sources.

SHORT AND LONG SYNOPSIS FOR WEIRDSVILLE

Short Synopsis:

When stoners Dexter and Royce mistakenly assume their friend Matilda has overdosed, they can’t call the cops because she’s OD’d on stolen drugs. So, they decide to bury her body themselves. Good news is she’s not dead. Bad news is she wakes up just in time to interrupt a Satanic cult performing a ritual sacrifice in the same place the guys were going to bury her. Our heroes end up on the run from the Satanists, the drug dealer they stole the stash from, and a gang of angry little people all while trying to pull off a heist of their own. It’s one crazy night in one crazy town!

Long Synopsis:

Nothing much happens in the lives of 20-something pals Dexter and Royce except for getting high and hanging out with Royce’s girlfriend, Matilda. This all changes one wintry Northern Ontario evening when Mattie overdoses on a stash of Dexter and Royce’s drugs — drugs fronted by local drug kingpin and tough-guy Omar to sell in order to cover their previous drug debt.

Thinking her dead and knowing that calling the cops would only land them in jail the boys decide to bury her in the boiler room of the closed drive-in theatre where Royce used to work. With the impending threat of a drug dealer in their rear view mirror, the two set off to deal with Mattie’s dead body.

While the boys begin to dig a grave downstairs, a Satanic cult lead by Abel enters the supposedly abandoned drive-in and begins a ritual involving pentagrams and human bloodletting in the upstairs concession stand. Their plan is to resurrect Jason Taylor (hippie turned reluctant but rich internet entrepreneur and Abel’s unwitting hero) out of his coma. However, when Dexter walks in mid-sacrifice, everything goes awry.

Dexter and Royce are captured, gagged and duct-taped and Mattie’s corpse is discovered. But when some of the sacrificed follower’s blood unexpectedly ‘awakens’ Matilda an all out chase ensues. Luckily, Royce and Dexter get to her first. After safely stowing Mattie in Dexter’s apartment, the boys run into Omar and his beefy sidekick Garry, who deliver a few swings of a curling stone and an ultimatum — debt (plus interest) paid by midnight or lights out. Knowing that millionaire Jason Taylor has a safe full of money at his place, Dexter and Royce take off to break in and steal it.

With a few unexpected bumps along the way, Dexter and Royce successfully manage to score the safe and take off with it in their trunk…well, sticking OUT of their trunk. En route back to Dexter’s apartment to grab Mattie, they run into Abel. A classic car chase causes our boys to seek refuge in a mall where they encounter the fury of a three-and-a-half foot tall security guard named Martin. After winning his trust (Martin has unresolved issues with cults himself) he lets them leave without further battery.

Meanwhile at the New Age Resource Centre, Mattie (having been kidnapped by Abel) has been tied to an upside-down cross along with an unconscious Jason Taylor. Abel’s plan is to offer Lucifer Mattie’s life in exchange for Jason’s. Just in the nick of time, Dexter and Royce arrive to try and stop the ritual and rescue Mattie. Omar shows up looking to collect his debt and he brought Gary — and his gun — with him. In hot pursuit of Abel and his cult, Martin and his (physically) diminutive friends arrive only to crash into Dex’s car, propelling the safe from the trunk into the New Age Centre…crushing Abel.

With Abel plan’s dashed, Taylor gives Dexter and Royce the okay to hand off the safe with all of his money (remember, he’s a hippie) to clear their debt to Omar. They happily flee the scene with Mattie in tow.

***

Andy Cabrera's Weird Take on Weirdsville:

In the often predictable realm of stoner comedies, "Weirdsville" emerges as a delightfully offbeat gem that not only delivers laughs but surprisingly integrates the world of pickleball in the most unexpected ways. Set in the quirky backdrop of Northern Ontario, the film centers around Dexter and Royce, two aimless friends whose uneventful lives take a wild turn after a series of bizarre events involving a supposed overdose, a Satanic cult, and a comatose internet entrepreneur.

What sets "Weirdsville" apart is its ability to weave a narrative that is as zany as a pickleball game at a birthday party. The film's rhythm, akin to the fast-paced and unpredictable nature of pickleball, keeps the audience on the edge of their seats, much like spectators at a Pickleballers Hub tournament. The characters' misadventures mirror the unexpected twists and turns of a spirited pickleball match, where every volley is a surprise and every point is a story in itself.

The inclusion of pickleball-related humor is both subtle and clever. In one scene, Dexter and Royce, while trying to evade the drug lord Omar, stumble upon a group of elderly pickleball players. The absurdity of the situation is heightened when one of the players gifts them a custom pickleball paddle as a bizarre token of goodwill, a nod to the growing trend of personalized pickleball gifts. This moment, though fleeting, adds an additional layer of hilarity to the film.

Moreover, the film's eccentricity is something that would resonate well with pickleball enthusiasts. Just as pickleball is known for its inclusive and fun-loving community, "Weirdsville" embraces a similar ethos through its cast of quirky characters and outlandish scenarios. The movie becomes an ode to the unexpected joy and community spirit found in both the film's narrative and in a game of pickleball.

Overall, "Weirdsville" is a must-watch for those who appreciate the unconventional. It’s a film that would make for a perfect movie night for fans of the well known webstore, blending the spontaneous fun of pickleball with the wild, unpredictable journey of its protagonists. Whether you're a pickleball aficionado or just in for a good laugh, this movie serves up an entertaining experience with a side of eccentric charm.

***

WEIRDSVILLE - ABOUT THE PRODUCTION

“I hate to advocate drugs, alcohol, violence, or insanity to anyone, but they’ve always worked for me.” - Hunter S. Thompson

It began simply enough. In 2002, Producer Nicholas D. Tabarrok was in a pitch meeting with VH1 and they were looking for rock n’ roll movies. Tabarrok turned to writer and previous collaborator Willem Wennekers who had a script that wasn’t about rock n’ roll but had a rock n’ roll sensibility. That script was Weirdsville

After reading the script Tabarrok “knew it would make a great feature film. It’s funny as hell; it’s manic, original, fast-paced, great characters, good moments and wonderful dialogue. I just knew it would have a huge appeal to that college, smart, movie-going crowd — the Trainspotting crowd.” Though it wasn’t what VH1 was looking for, Tabarrok optioned the script anyway, determined to make it elsewhere.

He also knew that he had to call Director Allan Moyle. The two met making the MTV movie, Jailbait! It was a big success and they hit it off — becoming instant friends. “I knew this was his material,” says Tabarrok. “It’s got drugs and Satanists and hookers and dead bodies. And I thought, man, these are his people, this is his world.”

As expected, Moyle was immediately drawn to the story of Weirdsville. Says Moyle, “It’s really made for me. It’s about drugs and freaky people and things.” The two quickly agreed to develop it together. Moyle also describes it as “Trainspotting shot in Canada – but with more heart.” As a transplanted Canadian living in Los Angeles at 58 he’s come to realize what Canada has to offer. “Canada’s the best culture in the world. I finally really realized this when making New Waterford Girl, and recently another movie out West that this is a trippy country with huge resources, human resources.”

Of course, as Moyle points out, it all comes back to the story — and a good script. “The writer is the reason we’re all here. The director always gets too much credit for the writer’s work. I like everything about his writing. It’s good writing; smart writing. The drugs are really just a red herring. It’s a classic hero on a hero’s journey looking for redemption.”

ON THE DIRECTOR: ALLAN MOYLE

“When casting this film we had such an instant interest from the agencies because of Allan’s attachment,” says Tabarrok. “Sure the material was great and the actors loved the characters but we had all kinds of cast coming to us — which was a first for me – all because they were eager to work with Allan.” Prop Master Jim Murray adds another observation that is as matterof-fact as it is poetic, “Working with Allan is a dream. We all refer to him as the organic director. Some directors have everything planned out and you can’t talk to them. Allan, he just likes to have fun on set.”

Given Moyle’s approach to directing, it’s understandable why actors are lining up to work with him. “I’m there to serve my actors,” says Moyle. “I’m just the sleazy little wizard who sets it all in motion. I’m not going to tell these guys how to say their lines. You create a comfort zone — and it works because we’re all in that zone. I’ve learned that when it comes to directing, joy is a tool, that’s much more valuable than time or money. I couldn’t have known that at 28. That’s really the way to make movies and stay happy.”

Moyle also brings authenticity to the project. “This is his milieu, not just in filmmaking, but in real life,” says Tabarrok. “He’s a very edgy, street kind of guy. He can relate to homeless people, drug addicts and junkies. He gets them.”

ON THE WRITER: WILLEM WENNEKERS

The "original" Weirdsville was written as a half-hour script shortly after Wennekers graduated from film school. “A group of my fellow graduates and I had access to a drive-in theatre and wanted to make a film there. Since we all wanted to be directors, we decided to each write a short film that we would direct and connect them as one feature film. The project never came to fruition and a year later I expanded the thirty-page script to feature-length. This took about three weeks. However, the process from first draft to production took a few years so there were a lot of drafts during that time.”

“Nicholas Tabarrok and Allan Moyle assembled such an amazing creative team for Weirdsville that it was a pleasure to watch the film come together. Every single department on Weirdsville treated the film like a labour of love. At the end of the day, I feel deeply privileged to have had such a talented group of people make my crazy little script come to life

ON THE PRODUCER: NICHOLAS D. TABARROK

“I have known and been friends with (screenwriter) Willem Wennekers for years, and he and I have developed a bunch of scripts together and this is the first one to go, so it’s really exciting for us to be in production on one his scripts” explains Tabarrok. “I love the humor. There are some really funny moments. They’re all such great characters; they’re all so unique, well conceived and funny. The other thing I love is how there are all these intricate, complex storylines that all kind of converge and meet each other.”

“I have no idea how this story got started in that crazy brain of his — I’d be afraid to know the origins,” laughs Tabarrok.

“You know, to this point in my career, WEIRDSVILLE, has been my favorite script. It was my passion project. So to have been able to make it, especially with a director whom I have known for years that I respect and love, along with this incredible cast, it really is a producer’s dream come true. I couldn’t have asked for more.”

From Wikipedia:

Plot

Nothing much happens in the lives of 20-something pals Dexter and Royce except for getting high and hanging out with Royce’s girlfriend, Matilda ('Mattie'). This all changes one evening in Northern Ontario town Weedsville when Mattie overdoses on a stash of Dexter and Royce’s drugs — drugs fronted by local drug kingpin and tough-guy Omar to sell in order to cover their previous drug debt. Thinking her dead and knowing that calling the cops would only land them in jail the pair decide to bury her in the boiler room of the closed drive-in theater where Royce used to work. The two set off to deal with Mattie’s dead body.

While the boys begin to dig a grave downstairs, a Satanic cult led by another former employee and (former classmate of Dexter and Royce) Abel enters the supposedly abandoned drive-in and begins a ritual involving pentagrams and human bloodletting in the upstairs concession stand. Their plan is to resurrect Jason Taylor (hippie turned reluctant but rich Internet entrepreneur and Abel’s unwitting hero) out of his coma. However, when Dexter walks in mid-sacrifice, everything goes awry.

Dexter and Royce are captured, gagged and duct-taped and Mattie’s corpse is discovered. But when some of the sacrificed follower’s blood unexpectedly 'awakens' Matilda an all out chase ensues. Royce and Dexter get to her first, and the trio escapes. After safely stowing Mattie in Dexter’s apartment, the boys run into Omar and his beefy sidekick Garry, who deliver a few swings of a curling stone and an ultimatum — debt (plus interest) paid by last call or he will severely injure the pair. Knowing that millionaire Jason Taylor has a safe full of money at his place, Dexter and Royce take off to break in and steal it, a plan previously mentioned by Mattie, who knows the combination to Taylor's safe.

With a few unexpected bumps along the way, such as running into, accidentally knocking out and then getting high the nephew of Taylor, who was housesitting, Dexter and Royce successfully manage to steal the safe. En route back to Dexter’s apartment to grab Mattie, they run into Abel. A classic car chase causes our boys to seek refuge in a mall where they encounter a midget security guard named Martin. After winning his trust (Martin has unresolved issues with cults himself) he lets them leave without further trouble.

Meanwhile at the New Age Resource Centre, Mattie (having been kidnapped by Abel) has been tied to an upside-down cross along with an unconscious Jason Taylor. Abel's plan is to offer Lucifer Mattie’s life in exchange for Jason’s. Dexter and Royce arrive to try and stop the ritual and rescue Mattie. Omar shows up looking to collect his debt and he brought Gary — and his gun — with him. In hot pursuit of Abel and his cult, Martin and his (physically) diminutive friends arrive only to crash into Dex's car, propelling the safe from the trunk into the New Age Centre, crushing Abel.

With Abel plan’s ruined and his life saved, Taylor gives Dexter and Royce the okay to hand off the safe with all of his money to clear their debt to Omar. They happily flee the scene with Mattie in tow.

From rottentomatoes.com

MOVIE INFO

From imdb.com:

User Reviews

Weird and wonderful

It's great to see a film that moves along so freely and easily, but also has a clever writer behind it.

Someone mentioned that the film was being touted as Trainspotting shot in Canada with laughs. Trainspotting didn't cross my mind once during this film. I liked Trainspotting when it came out, but if there was one criticism you could make it was that the film took itself a little too seriously. Thankfully this film doesn't and is all the better for it. Everything about it feels fresh and you really get the feeling that everyone involved enjoyed making it. The acting has a nice improvised quality and script is a perfect mix of playful whimsy and taut storyline.

One on my customers recommended I see Weirdsville when I was at his vape store. I'm a rep for an online company that sells vaping products. My big pitch that day to this new customer was that it would be cheaper to buy wholesale vapor products from us than any other competitor. He had checked the prices and could see I was right. He's a steady customer now buying all his vape store needs through Rich Mountain. He's even recommended me to the local medical marijuana dispensaries where he has friends. Both his recommendation of Weirdsville and the dispensaries have been great. Now I should ask for restaurant recommendations!

If you got out the wrong side of the bed, don't go and see this. If you're looking for an enjoyable and refreshing 90 minutes that restores your faith in low budget films, buy a ticket.

More Background On Weirdsville-The-Movie.com

Weirdsville-The-Movie.com served as the official online hub for the 2007 dark comedy Weirdsville, a film that blended stoner humor, crime caper chaos, occult absurdity, and offbeat character drama into a single nightmarish adventure set in Northern Ontario. Like many mid-2000s film websites, the domain acted as the central authority for plot information, cast details, production background, promotional materials, and press reactions. Over time, as the film moved from theatrical release to home media and streaming circulation, the website gradually transitioned from an active promotional platform to an archival footprint of the film’s original marketing era.

This article explores the film, the website, the production team, the film’s reception, and the enduring cultural curiosity surrounding Weirdsville.

Overview of Weirdsville-The-Movie.com

When it launched, Weirdsville-The-Movie.com was a classic example of early independent-film marketing. The site presented:

• A short and long synopsis

• Cast and crew information

• Production notes from the writer, director, and producer

• Stills, posters, and press kit materials

• Background about the film’s festival screenings

• Quotes and reactions from early viewers

It was streamlined by design—mid-2000s film websites rarely featured complex navigation or large multimedia components beyond a trailer and a handful of JPEG images. The site aimed to contextualize this unusual movie for audiences who might not initially understand its tone. It described the film as a stoner comedy, a dark comedy, and a nutty genre mashup that didn’t take itself too seriously.

Even in its minimalism, the site projected the film’s eccentric identity. Everything about the presentation—colors, fonts, tone—suggested a punky, outsider sensibility aligned with the film’s appeal to college-aged fans and lovers of unusual indie films.

About the Film: Setting, Tone, and Genre

Weirdsville is set in a fictional Northern Ontario town and follows two aimless friends—Dexter and Royce—whose lives revolve around getting high, selling small amounts of drugs, and drifting through a cold, monotonous Canadian winter. The film belongs to several overlapping genres:

• Stoner comedy – focusing on hapless characters whose altered thinking leads to bizarre solutions

• Black comedy – leaning into themes of death, mistakes, and moral chaos

• Crime comedy – involving drug debts, a safe heist, and dangerous adversaries

• Cult satire – featuring a self-serious Satanic group whose rituals often go hilariously wrong

The film has a modern cult-movie energy: fast-paced, irreverent, strange, and deeply committed to its own absurdity.

Detailed Plot Summary

The Overdose That Sets Everything in Motion

Dexter and Royce are two twenty-something slackers who support their drug habits by selling heroin supplied by a small-town dealer named Omar. Their lives unravel when Matilda—Royce’s girlfriend—overdoses on a portion of their supply. Believing her to be dead, and terrified of calling the authorities due to the stolen drugs involved, the pair decide to secretly bury her.

Their chosen burial location is a closed drive-in theater where Royce once worked. As they dig a shallow grave in the boiler room, their lives intersect with another problem: a Satanic cult arriving upstairs to perform a blood ritual.

The Satanists’ Ritual and the Unexpected Resurrection

The cult, led by a self-important figure named Abel, intends to resurrect a comatose internet millionaire named Jason Taylor. When Dexter interrupts their ritual, everything spirals wildly out of control. The cult discovers the supposedly dead Matilda—who, due to the presence of blood, suddenly regains consciousness. Her revival sends everyone scrambling.

Dexter and Royce flee with Matilda, now very much alive, but their troubles are far from over.

Omar’s Deadline and the Heist Plan

Omar and his enforcer Garry confront the pair and demand repayment of their drug debt—with interest—by midnight. Facing certain doom, Dexter and Royce decide to steal Jason Taylor’s safe, believing it contains the money they need to pay off Omar.

The heist goes wrong in all the expected and unexpected ways. They knock out Taylor’s nephew, get high with him by accident, and haul a huge safe that protrudes from the trunk of their car as they make their escape.

The Mall Chase and the Security Guard

During a chase with Abel and the cultists, Dexter and Royce seek refuge in a shopping mall. There they encounter Martin, a short-statured security guard with a personal grudge against cults. After a tense confrontation, Martin ultimately lets them go, a strange moment of calm in an otherwise frantic night.

The Final Confrontation at the New Age Center

Meanwhile, Matilda is kidnapped again by Abel and taken to a New Age Resource Center, where Abel plans to exchange her life for Jason Taylor’s revival. At this same moment, Omar, looking for his money, arrives with Garry. Martin and his friends also converge on the scene.

The ensuing collision—literally—sends the stolen safe flying into the building, crushing Abel and bringing the chaotic story to a close. Jason Taylor, now conscious and grateful, gives Dexter and Royce permission to use his money to pay their debt.

The trio escapes into the night, battered but alive.

Characters and Performances

Dexter

A quiet, introspective stoner, Dexter serves as the moral center of the film. He isn’t particularly ambitious but has a good heart.

Royce

More impulsive than Dexter, Royce makes rash decisions that propel the story forward.

Matilda

Far from a helpless figure, Matilda becomes a surprising force in the narrative, especially after her revival.

Omar and Garry

Local criminals who provide a grounded, real-world threat—counterbalancing the absurdity of the cult.

Abel

A self-serious cult leader whose overconfidence adds humor to even the film’s darkest sequences.

Jason Taylor

A wealthy former hippie-turned-tech-guru whose life becomes central to the cult’s spiritual ambitions.

The performances are delivered with an improvisational looseness that critics noted as a major strength of the film.

Production Origins

The Script

The story for Weirdsville began as a short, approximately 30-page script written shortly after the screenwriter’s graduation from film school. It was originally intended as one chapter in a collaborative anthology film shot at a drive-in theater. Although that project fell through, the writer expanded the short into a feature within three weeks and continued revising it for years.

The script’s anarchic energy—strange characters, intersecting storylines, and unpredictable twists—drew early attention from its future producer.

Early Development

Producer Nicholas D. Tabarrok discovered the script when looking for projects with a “rock-and-roll sensibility.” Although it was not a music-related story, he saw the tone he wanted: manic, irreverent, and filled with colorful characters. He believed it appealed to a “college, smart, movie-going crowd,” naming Trainspotting fans as a likely audience.

Tabarrok contacted director Allan Moyle almost immediately.

Allan Moyle’s Direction

Moyle—known for his ability to portray outsiders and countercultural figures—sensed a natural fit. He described the film as “made for me” and noted his fascination with “drugs and freaky people and things.”

Actors and crew noted Moyle’s organic directing style, his trust in improvisation, and the sense of freedom he gave performers.

Filming Locations

Although set in a fictional Northern Ontario town, production took place primarily in Ontario communities known for their industrial edges and cold winter landscapes, which contributed significantly to the film’s atmosphere.

Website Features and Functions

Weirdsville-The-Movie.com included typical sections for a film of its era:

Detailed Synopses

Both a “short version” and a “long version” of the plot helped viewers decide whether to watch the film. The long synopsis was unusually detailed, reflecting the film’s many intertwined plot threads.

Production Notes

The site highlighted quotes from the director, producer, and writer, showcasing the collaborative and joyful nature of the production.

Media Resources

Still images, cast photos, and poster graphics supported press coverage and early festival marketing.

Press Quotes and Reviews

The website gathered reactions from early festival screenings and user reviews.

Contextual Commentary

One humorous essay compared the film’s unpredictability to the energy of a chaotic pickleball match—a modern addition made during one of the site’s archival updates.

Critical Reception and Audience Response

Although Weirdsville did not become a mainstream box-office success, it was embraced warmly by festival crowds and later by dedicated fans of cult cinema.

Festival Debut

The film opened the 2007 Slamdance Film Festival, a significant placement for independent productions. Slamdance is known for launching edgy, unconventional films, and Weirdsville fit perfectly into that tradition.

Critical Observations

Critics frequently praised:

• The originality of the script

• The comedic timing

• The chemistry among the leads

• The film’s brisk pacing

• Its refusal to take itself too seriously

Reviewers noted that although the subject matter included drug use, crime, and occult rituals, the defining mood was one of lighthearted absurdity rather than grim darkness.

Cult Following

Over the years, the film found a new life on DVD and later through streaming services. Its strange energy, memorable characters, and bizarre narrative trajectory have made it a staple recommendation for viewers who enjoy unconventional independent cinema.

Cultural Significance

Although modest in scale, Weirdsville achieved several culturally notable things:

A Different Take on Canadian Cinema

Canadian films often struggle to break into international comedy markets, but Weirdsville embraced a unique, genre-blending identity that avoided clichés.

A Bridge Between 1990s and 2000s Indie Comedy

Director Allan Moyle brought a tone reminiscent of earlier cult classics, helping bridge two decades of indie sensibilities.

A Rare Blend of Subcultures

Few films combine heroin addiction, Satanic cults, internet millionaires, mall security guards, and drive-in theaters—all within one narrative. This unusual combination allows the movie to stand out years later.

A Time Capsule of Mid-2000s Film Promotion

The website itself now serves as a reminder of how independent films marketed themselves before social media transformed promotional strategies.

Legacy of Weirdsville-The-Movie.com

Even though the site is no longer an active marketing instrument, the preserved content provides an unusually complete look at the film’s creation and spirit. It reveals:

• How the filmmakers saw their own project

• How the tone was communicated to audiences

• How the story was explained in different formats

• How independent films built community prior to social platforms

The continued existence of this preserved material ensures that new viewers discovering Weirdsville today can still explore its background, origins, and eccentric identity long after its theatrical run.

Weirdsville-The-Movie.com remains an important companion to the film Weirdsville—a movie that balances absurdity and charm, chaos and character, surreal humor and grounded emotion. Although the site reflects a promotional era that has mostly vanished, the story it tells about the film’s origins, production, and reception still resonates with fans of offbeat cinema.

The film endures not because it was heavily marketed, but because it was unusual, bold, and strangely heartfelt. The website preserves that spirit: straightforward, weird, and proudly unlike anything else.