That was an excellent one.

Self-important, over-dramatic, uninspired.

Sadly Over-hyped

While it doesn't offer any answers, it both thrills and makes you think.

First off, 'Crime Wave' is low budget, with lots of poor acting (except for the okay main parts played by Paizs and Kovacs, with an extra mention for the crazy 'cowboy' played hilariously by Neil Lawrie) and a cheap look, let's get that out of the way for those who might expect otherwise. But Paizs makes up for it with lots of creativity and humor, i.e. the motif of film segments of beginnings and endings, the focus on the relationship between Steven and Kim and the bit with the optical illusion. Thoroughly fun stuff, and I may have even missed out on some clever jokes, as I watched this for the first time without subtitles. Still, I wouldn't give it more than a small 7 out of 10 thus far.Then, the last half hour really takes off (just about when the characters from Penny's stories come alive in the attic), and the comparison to Lynch becomes even more clear; after the hyper-reproduction of American (well, er, Canadian...) life in the first part which made think of 'Blue Velvet', that crazy cowboy forcing his 'twist' on writer Steven Penny seems to have directly influenced Lynch's 'Mulholland Dr.' - but I have never heard or read about that before, so who knows? In any case that last part is a true cinematic roller coaster ride, where even Jesus is found. Low budget? Who cares.And for that wonderful last part, I'm giving it one point extra; 8 out of 10. By the way: in some ways 'Crime Wave' seems like a children's film, but actually there are plenty of details and adult references to make it not quite so. Nevertheless, or, all the more reason to: give this one a try if you get the chance!

An absolute peach of a film about a "quiet man" Steven Penny (played by director John Paizs himself) and his desires to pen the greatest colour crime movie ever told. His attempts are lovingly documented by his chipper and inquisitive neighbour Kim (Eva Kovacs), who becomes fascinated by Steven after reading scraps from his discarded screenplays, which Steven has thrown to the trash. For you see, Steven is a tormented artist. He can write the beginnings and endings of screenplays, but not the middles... and what screenplays they are! They tell sordid tales of hapless and violent Elvis impersonators; murderous Amway recruits; self-destructive self-help gurus! Yet, however sordid these cutaways become, the film retains a giddy innocence amidst the darkness. It also achieves a feat that very few films achieve, which is to use kitsch in a way that is wholly earnest and sincere, rather than ironic. The whole film has the feel of an after-school special, or those awkwardly mannered edutainment titles reserved for the classroom, but the spirit of parody remains wholly affectionate and the film is often touching and beautiful. This is especially impressive for a film with such strong meta-fictional elements, since it would be easy for such an exercise to become distanced and cynical. However, when Kim educates the viewer about persistence of vision, passing on the knowledge given to her by Steven, we are simply caught up in the joy of it, rather than smirking some knowing smirk as to how clever-clever the enterprise is. With the entrance of criminally insane script doctor Dr. Jolly (Neil Lawrie) the film threatens to become rather dark, yet still retains a lightness of touch. It's a magical piece of filmmaking, quite unlike anything you've ever seen before, one infused with the joys of filmmaking, friendship and the wonder of childhood with the experience of being an adult. It's a beaut.

I only saw this movie once on CBC years ago so it's fuzzy, but the scene with the cowboy and the main character has stuck with me because it has the kind of creepiness that leaves the mouth dry.Okay, Lynch may not have "ripped" the scene from this movie but when I saw the scene in Mulholland Drive with the cowboy I only took me a fraction of a second to drag out this little scene from Crime Wave which was lost somewhere in my memory banks. I think this is a good thing, because how else could I have reclaimed my interest in Piazs' film, introducing it to you now and maybe even getting you to be interested in it too?Both scenes have similar settings, a failing light from above, and both involve a meeting with a menacing character in a cowboy hat. When I saw Mulholland Dr. I just KNEW Lynch had to have seen this movie too. Anyways, you all inspire me: Maddin, Paizs, Lynch, Georges Melies, Miranda July, Godard...

Along with the brilliant Guy Madden (ARCHANGEL, TALES FROM GIMLI HOSPITAL), John Paizs is another Winnipeg native who shot his first films there. Check out his short films (especially SPRINGTIME IN GREENLAND) which are absolutely hilarious. There must be something in the tap water in Winnipeg. As for CRIME WAVE, I can't say enough good things about this movie. My VHS copy is one of my prize possessions in my movie collection. Despite its somewhat crude production values and spotty performances, it exhibits ten times as much imagination, creativity, and wit as most Hollywood comedies. TOP OF THE FOOD CHAIN is also wonderful in its own schizophrenic, bizarre way.