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Reviewed by Elliot V. Kotek
(from the 2009 Toronto International Film Festival)

Director/Writer: Sean Byrne
Starring: Xavier Samuel, Jessica McNamee, Richard Wilson, Victoria Thaine, Robin McLeavy and John Brumpton

Sean Byrne’s “The Loved Ones” centers itself around high-schooler Brent Mitchell (Xavier Samuel), who, riddled with guilt by his father’s death after a car accident in which he sat at the wheel, deals with the pain by resorting to pot-smoking and subjecting himself to razor-induced pain.

Satisfied in his relationship with Holly (Victoria Thaine), Brent’s seemingly respectable rejection of Lola’s (Robin McLeavy) invitation to accompany her to the school dance sets off a series of events that cruises from the curiously combative to the mind-blowingly macabre.

To keep from giving too much away, suffice it to say that Lola’s unrequited love is more than unacceptable to both her and her father, and their revenge plays out in a hostage situation. In Lola’s house, the family that flays together, stays together, and Brent is the latest in a string of Lola’s crushes to now find himself part of their gruesome game.

Samuel’s acting efforts have graced screens at Cannes, Tribeca and Toronto on previous occasions, and, with the latest news of his casting in the third installment of the “Twilight” franchise, this Australian flick will do nothing but help affirm his rising star quality. “The Loved Ones” performances across the board are nothing short of excellent given the bizarre circumstances the story imposes on its characters.

After helming a string of shorts in a variety of genres over the last 10 years, Byrne delivers his best work in his feature debut. Delivering what is sure to soon be a cult favorite, Byrne paces out the film’s plot points with the poise of a professional, and the result is a brilliant balance of horror, humor, schlock and shtick.

“The Loved Ones” fit perfectly into the Midnight Madness spotlight at the 2009 Toronto International Film Festival, whose audience it puppeteered to an Audience Award in its category. Conversely, during the press and industry screening, the film forced many to flee for the doors while an equal number stayed to face their filleted funnybones – evidence enough, some would say, of the film’s ability to deliver the goods.