Two broke, perpetually stoned friends, Dexter and Royce, think their friend's girlfriend Mattie has died of an overdose on drugs they owe a local dealer for, so their panicked solution is to bury her in the boiler room of an abandoned drive-in theater where Royce used to work. Director Allan Moyle builds Weirdsville around that terrible plan and then complicates it further with a Satanic cult that has chosen the very same building for a ritual that same night.
It is a shaggy, low-budget mash-up of stoner comedy and horror-adjacent farce that never fully committed to either lane hard enough to find its audience back in 2007 — which is exactly why it plays better now as a curio than it did on release. Scott Speedman and Wes Bentley sell the mounting panic convincingly, and Taryn Manning gets far more to do than simply play the overdose victim once the cult plot kicks into gear.
A botched grave and a Satanic ritual end up sharing the same basement, and that's the least of anyone's problems.
A 3.6 and 62% is the right read here: this is a minor, uneven film with real cult-movie charm buried inside it, not some lost masterpiece waiting to be crowned. If you are the kind of viewer who collects strange mid-2000s indies that fell through the cracks on their way to theaters, Weirdsville is a genuinely fun, scrappy one to go dig up and rescue.
Weirdsville came from Canadian director Allan Moyle, who had already built a cult following with the teen classics Pump Up the Volume and Empire Records, and here he turned his eye on a scruffier, druggier corner of small-town Canada. Written by Dutch screenwriter Willem Wennekers, the film blends stoner comedy with crime-thriller mechanics as two hapless friends try to cover up a fatal mistake in a single frantic night. It premiered at the Slamdance Film Festival before finding a limited theatrical release. The production earned some recognition on the Canadian awards circuit, picking up nominations at the Directors Guild of Canada Craft Awards for its editing and production design.
Weirdsville never became a mainstream hit, but it built a small cult audience among fans of scrappy Canadian genre comedy, helped by a cast of young actors testing out darker, weirder material than usual. Its blend of drug-fueled panic, cult undertones, and deadpan Canadian humor puts it in the same lineage as other favorites about ordinary people spiraling into crime over one bad night. For viewers who enjoy their comedy pitch-black and their plots gleefully chaotic, it remains an under-the-radar recommendation, more interested in mood and momentum than in tidy resolutions.
Critics at the time landed roughly where we do: Rotten Tomatoes logged a 56% approval rating off 32 reviews, with the site's consensus tag calling it "confusing at times" but "funny and quirky in equal measure." It never got near a wide release either, grossing a reported $9,700 at the North American box office, the kind of number that all but guarantees a movie disappears unless word of mouth or a later streaming pickup does the work. That's more or less what happened here, with the film's reputation quietly growing well after its 2007 run ended.
