Abertoir 2012 Review: John Dies At The End When setting out to assess a film which deals with the nature of time, space, psychic phenomena, and the role that drug use might play in our perception of these matters, all from a detached, tongue-in-cheek perspective, it's immediately apparent how easily a film of this nature might not work. From the word go, right there in the premise and the title, it's all so clever-clever, so knowingly absurd on every level that it should by all rights crumble under the weight of its own smug self-awareness. It also doesn't help that the lead actors are far too good looking and muscular by half. It could so easily be Detention all over again. Yet not only does John Dies At The End successfully avoid drowning in a black lagoon of hipster self-importance; it also manages to be one of the most deliriously entertaining and inventive movies of the year, a joyful genre-bender with Pythonesque blood pumping through its horror fan heart. Dave (Chase Williamson) and John (Rob Mayes) are a pair of old high school buddies still caught up in a perpetual adolescence, who through little-to-no fault of their own find themselves beset with enhanced psychic faculties, and have made use of this by becoming -- in the words of reporter Arnie (Paul Giamatti) -- some kind of "spiritualist-exorcists." As for how they got that way, and what their new-found abilities have told them about the nature of reality and the fate