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Suck

Suck

Comedy · Horror · Music · 2009

The film follows a petty rock band called the Winners, consisting of vocalist Joey Winner, bassist Jennifer, guitarist Tyler, drummer Sam, and French-Canadian roadie Hugo, along with their sleazy manager Jeff, as they tour across Canada and the USA after Jennifer is turned into a vampire by Queeny. Meanwhile, a vampire hunter who is afraid of the dark named Eddie Van Helsing quickly chases them down.

Movie details

Suck

2009 Comedy · Horror · Music 1h 31m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

The film follows a petty rock band called the Winners, consisting of vocalist Joey Winner, bassist Jennifer, guitarist Tyler, drummer Sam, and French-Canadian roadie Hugo, along with their sleazy manager Jeff, as they tour across Canada and the USA after Jennifer is turned into a vampire by Queeny. Meanwhile, a vampire hunter who is afraid of the dark named Eddie Van Helsing quickly chases them down.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Suck?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Rob Stefaniuk

Written by

Rob Stefaniuk

Malcolm McDowell

Malcolm McDowell

Eddie Van Helsing

Iggy Pop

Iggy Pop

Victor

Henry Rollins

Henry Rollins

Rockin' Roger

Alice Cooper

Alice Cooper

Bartender

Jessica Paré

Jessica Paré

Jennifer

Dave Foley

Dave Foley

Jeff

Moby

Moby

Beef

Court is in session

Put Suck on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Big-Idea Head

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.