Opening in a limited theatrical release somewhere today:
THE LONELIEST BOY IN THE WORLD
(Dir. Martin Owen, 2022)
The genre of the undead flourishes again in this odd offering from Martin Owen (L.A. SLASHER, LET’S BE EVIL, KILLERS ANONYMOUS, THE INTERGALACTIC ADVENTURES OF MAX CLOUD), Releasing in theaters today, and dropping on VOD platforms on October 18th. Billed as “a modern fairytale, except with zombies,” the dark comedy stars Max Harwood as Oliver, a timid teenager trying to find his way through suburban life after his mother passes.
For this “zombedy,” as some are calling it, Director Owen worked from a screenplay by Piers Ashworth, and the project re-united him with cinematographer Håvard Helle, who had shot his last several movies. Notably, the one recognizable name involved is Emilio Estevez, who executive-produced the film.
Shot in Canada (Vancouver, British Columbia), but set in an unspecified everytown, the film is set in 1987 amid a surreal blend of pastels, kitschy household trickets, and Alf reruns always on the TV. Harwood’s awkward Oliver, after the tragic, yet deliciously colorful death of his mother (Carol Anne Watts), comes to a catharsis about his lonely situation at a cemetery, and starts to dig up various bodies, and bring the undead to live with him at his suburban home. Basically, Oliver has taken the initiative in his life to dig up some friends.
Oliver’s first post mortem pal is Mitch, played by a shades or bandaged head-wearing Hero Fiennes Tiffin in a tuxedo. After a close call, Oliver bandages the head of his corpse-lish companion, and asks, “You know, you could’ve been caught; what would you have done?” to which we get the plucky reply: “Play dead.” Yes, Tiffin, whose character is credited as Mitch, is a zombie, but a talking, aware one, so the undead aren’t like the walkers in The Walking Dead or many of the other shows and movies in the wide genre.
Our protagonist even arranges the deteriorating undead like a family on a couch poised for a photographic portrait that’s used as a touchstone throughout the film. This sentimentality is balanced out with disgusting scatological humor like a vomit bit that goes on too long, and too many close-ups of gruesome organ mishaps presented as goofy sight gags.
Oliver’s supporting cast includes Susan Wokoma in a stand-out role as Oliver’s sassy maid, and a blonde/blue-haired punk Tallulah Haddon, as Oliver’s love interest. There’s also zombie friends such as Evan Ross, Hammed Animashaun, Ben Miller, and Jacob Sartorius who live it up in party and diner scenes. Some sketchy types like a dapper Nicholas Stone, and Ashley Benson as social workers decorate the fringes of the film but end up having little consequence to the story.
This fairytale concerning the undead as companions for a lonely boy conveys a tone and a stylistic approach recalling Wes Anderson, Tim Burton, and Edgar Wright, but the film isn’t fleshed out enough to stand with the works of those masters. THE LONELIEST BOY IN THE WORLD is likable enough, but is more weird than actually funny, and its characters aren’t as endearing as the film wants them to be.
Funny thing is, for a film set in, and aiming to ape the ‘80s, it’s the type of movie that would’ve been a cult film back in the actual Reagan era of four decades ago. It would’ve most likely fallen in with the likes of DROP DEAD FRED, WEIRD SCIENCE, or even THE TOXIC AVENGER. But now it’ll likely fall through the cracks, and not gain the odd-interest audience that it’s looking for. While I may have found it too obtuse, underwritten, and just plain strange for the sake of it, I bet there’s some kid or lonely boy or girl out there it will speak to.
