Dead by Monday is a darkly comic tale of love and death... but not necessarily in that order. Julie is a sweet, vulnerable young woman who lacks confidence and is obsessed with the memory ... See full summary »
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David L. Williams
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Dead by Monday is a darkly comic tale of love and death... but not necessarily in that order. Julie is a sweet, vulnerable young woman who lacks confidence and is obsessed with the memory of her dead husband whom she idealizes. Alex is an angry writer. Talented but unable to repeat the success of his first novel, he has nothing left to say. Or live for. He just wants to die. Fate introduces these two lost souls at the edge of a cliff. While picking flowers Julie accidentally falls off. Alex, who has come to blow his brains out, is interrupted by her cry for help, just before he pulls the trigger. They part as strangers but their paths cross again when Julie stumbles on the identity of her mysterious rescuer. From that point on, every time he tries to do away with himself, Julie unwittingly manages to foil him. Soon, however, she, too, lapses into despair and wants to end her life when she discovers a devastating secret about her dead husband. The two meet again at a hospital where ... Written by
Swiss filmmaker Curt Truninger is clearly no sentimentalist. His latest film DEAD BY MONDAY although ostensibly a romantic comedy, can hardly be called traditional fare with its two protagonists brought together by a suicide pact. With a witty script by Myra Fried, Truninger deftly confounds our expectations by keeping his two charming lead actors emotionally distant for most of the film. Eschewing the coy American standard for this genre, we are instead provided with the absurd and alienating environment of southern Ontario. The success of such a daring endeavour logically rests on the shoulders of its stars and Truninger has cast a pair of superb comic performers especially relative unknown Tim Dutton, whose charisma marks him for major leading man status. Helen Baxendale does equally well in her flakier and slightly less sympathetic role. The film is further distinguished by the subtle painterly cinematography of Martin Fuhrer, particularly in the title sequence that cleverly combines a burnished dawn tableau with a cheeky score by Mark Suozzo. Ultimately though it all comes down to chemistry, and on that score DEAD BY MONDAY is pure champagne and orange juice.
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