Official Selection: SXSW 2015
Official Selection: Stanley Film Festival 2015
Official Selection: Fantaspoa Brazil, 2015
“A very metal tribute to the grand tradition of Kiwi splatter comedy” - Richard Whittaker, AUSTIN CHRONICLE
“The party movie of 2015” – Patrick Cooper, BLOODY DISGUSTING
“The film gorehounds have been tearing their hair out waiting for” - Harry Knowles, AIN’T IT COOL NEWS
A pack of metalhead outcasts in a small New Zealand town form a band and make the mistake of performing accursed riffs off an ancient page of sheet music, releasing total hell on their hated suburban neighbourhood. They may not love their neighbours, but they’d also prefer not to be responsible for the end of the world. Blood will spray, pinch harmonics will shriek, monsters will annihilate, and the most balls-out heavy metal horror/comedy you could ever imagine is about to shake your foundations. Bang. Your. Heads.
The bonkers fun feature debut from NZ visual effects artist Jason Lei Howden, known for his work on THE HOBBIT and THE AVENGERS, DEATHGASM joyously takes all the old wackjob Focus-on-the-Family scaremongerings about the Satanic implications of metal and spins them off as absolute fact. Sure, playing a record backwards could function both as an unleasher of spells and a spinning, Ouija-like device for communication with the dead. No question, the barely-legible typographies of many a band logo have powerful mythical abilities. Throw in demons, chainsaws, gore-gags a-plenty and a double-sided dildo fight, and you’ll kind of get an idea of how nuts this film is. Kind of. Matching its chaos and power chords every thrash of the way is a supremely charming oddball personality that really brings the goods home and defines the film as something special. Produced by Ant Timpson (TURBO KID, HOUSEBOUND), packed with lunatic splatter reminiscent of early Peter Jackson and volume-11 riffage harkening back to that same era’s wickedest metal, DEATHGASM absolutely shreds. In every sense. It is, as the parlance goes, metal as f*ck.
— Mitch Davis