Deany (Allison Marie Volk) is not exactly at a high point in her life: She's still heartbroken of her ex Tom (Christopher Glenn Cannon) breaking up with her, and now she learns he's already engaged to her successor, Angela (Sarah Siadat), she hates her job, hates her boss Maxine (Wendy Wilkins) even more, and then she's fired even. She's so fed up with this that when she stumbles upon Maxine on the parking deck, she strangles her to death. To not be caught red-handed, she hides Maxine's body in her trunk, and figures she best buried her where people least expect it - in her ex boyfriend's garden. After all, Tom and Angela are on a trip to South America, presently. Only they're not, they've returned only today, and Angela catches Deany in the garden - but not knowing who Deany actually is, she invites her in, believing her to be part of the welcome-back party they're giving that night. And what a party that is, guests are of all people Deany's former psychiatrist (Paul Tigue) and his wife (Melanie Leanne Miller) and Tom's estranged brother Myron (Colin Taylor Martin) - and of course, there's a totally weird atmosphere to all of this, and things slightly get out of hand pretty much constantly, especially when it starts to show that the relationship between Tom and Angela might not be as ideal as they try to make everyone believe, and that Tom still does have feelings for Deany. But things only actually go to hell when believed-dead Maxine shows up at the party as well, with not the slightest recollection who she is and what might have happened to her, and Deany, trying to use this to her advantage, only makes things worse, way worse ...

If dark comedies are your thing, then you'll in all probability like Deany Bean is Dead, as its underlying humour is really morbid, but the film doesn't go overboard with things or tries to just outgross the audience for a few laughs but puts an emphasis on understatement and really let's the premise grow out of shape all by itself and with a gusto. That's thanks to clever writing with an instinct for odd and hilarious situations and strong characters to carry the thing, and a direction that translates the subtleties of the script rather nicely. And Allison Marie Volk sure makes a lead that's likeable despite of (or maybe because of) all her flaws (and there are many), and she's supported by a solid ensemble. Lots of fun for sure!

review © by Mike Haberfelner

 

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