Director Allan Moyle (TIMES SQUARE, PUMP UP THE VOLUME) returns to his Canadian roots with this year's Slamdance sleeper, which unfolds during a long winter night in a small Northern Ontario city called Weedsville, whose nickname supplies the pic's title.Two slackerish heroin addicts -- Dexter (Scott Speedman), a wry ironist who's trying to kick the habit, and Royce (Wes Bentley), a manic mood-swinger who overestimates his smarts -- make the mistake of indebting themselves to drug kingpin Omar (Raoul Bhaneja). Recklessly, they agree to settle accounts by dealing drugs for Omar.

When Royce's sweetie, Matilda (Taryn Manning), a part-time hooker, appears to fatally O.D. on the kingpin's product, Dexter and Royce reluctantly agree they should bury the luckless cutie in the boiler room of a drive-in where Dexter was fleetingly employed. Fortunately, they determine Matilda is still alive before they plant her in the ground. Unfortunately, they don't make this discovery until after they've interrupted some novice Satanists in the act of carrying out their first human sacrifice.

Moyle slyly grabs attention while establishing a sense of controlled chaos -- and an expectation that anything might happen -- with flashy cutting, accelerated action and drug-fueled fantasy sequences. But even as the style veers toward visual hyperbole, the substance of Willem Wennekers' ingenious script remains governed by its own internal logic.

WEIRDSVILLE lurches from one outrageous plot twist to the next, careening along a circuitous path that threads through the mansion of a brain-injured millionaire (Matt "Max Headroom" Frewer), a shopping mall and a back alley where a band of medieval re-enactors get medieval on the Satanists.

Deconstructionists will delight in divining the influences that inform WEIRDSVILLE, a cleverly constructed, capably crafted and often uproarious shaggy-dog black comedy that riffs on everything from TRAINSPOTTING and Quentin Tarantino to RACE WITH THE DEVIL and Elmore Leonard. (Joe Leydon, Variety)