Tag Archives: zombie horror

Retrospective: Undead (2003)

12 Sunday Dec 2021

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Before the Spierig Brothers would take on what would be their second feature film as their writer, director, producer team with Daybreakers starring Ethan Hawke, and possibly their best movie to date. 

Before they would even attempt to expand the Saw franchise with Jigsaw and then to breathe further life into the Hammer Films productions with Winchester, they would craft their first feature, Undead; a schlocky, low budget, zombie / alien invasion feast set in remote Australia.
The movie has just been released by Umbrella Entertainment as a Blu-ray/Dvd edition for their Beyond Genres collection. Check out the extras at the foot of this article.

The movie itself is not exactly brain fodder, but I remember from its initial release back in 2003 that it was a lot of fun to watch and packed with that unusual blend of Aussie humour that always seems to lift the storyline. There are some iconic moments too, namely from Mungo Mckay’s character Marion, a doomsday prepper who has encountered a paranormal encounter before and has been subjected to being an outcast ever since. His performance channels somewhere between Ash Campbell for sheer resilience and his namesake, James Wayne, with a cowboy like approach to survival and armed with a triple shotgun among his many resources.

Interestingly though, Marion isn’t the hero of the movie, as our lead protagonist falls to meek Rene (Felicity Mason) who has been a downtrodden character most of her life and just wants to get the hell out of Kansas. When push comes to shove though, she soon shows her metal and comes out fighting.

To look at this movie and scorn the performances though which I have seen some people comment on is to miss the style that The Spierig Brothers were going for. Clearly, they wanted to experiment with some visual effects, something that the extras in this release shines a light on. Undead would be their showpiece and a playing field for them to experiment with what they could do through a feature narrative. The problem as always is budget, which there wasn’t a lot of. So knowing this, the filmmakers went with a ramped up melodramatic, pulp style 50’s invasion feel. One that, knowing this beforehand, takes the pressure of applying a highbrow response to and simply letting it flow and enjoying the ride.

The film is packed with a lot of set play, from zombies attacking, survival instincts, seedy characters, bullheaded police officers, aliens, infection and nods to the era that formed the base of these kind of movies, one that comes to mind are some of the earlier scenes in Village of the Damned. There are also elements of Night of the Living Dead at play here, all of which goes to show that The Spierig Brothers are lovers of their craft and with Undead shows a great introduction to the celluloid mainstream with a film that wears its heart on its sleeve. So while it may not be original or groundbreaking, Undead still offers enough to entertain and essential viewing for film lovers who are interested in following the journey of a couple of creatives in the rise.

  • Saul Muerte

Undead is released on Blu Ray and DVD by Umbrella Entertainment.

Details of the extras are listed as follows:

  • Original Soundtrack CD
  • Audio Commentary with Directors Peter and Michael Spierig and Cinematographer Andy Strahorn
  • On the set of the Undead
  • Attack of the Undead – Short Film
  • The Making of Undead
  • Homemade Dolly Video
  • Undead Camera and Make-up Tests
  • Stills Gallery
  • Theatrical Trailer

Movie review: Blood Quantum

30 Wednesday Dec 2020

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There is a lot to praise about this film, but chiefly is its stance on American colonialism and thrusting the theme of zombie horror as the platform to herald from. The term Blood Quantum is from the Indian Blood Laws in the United States that determine Native American identity by the percentages of their ancestry, for example if you are born from a mother and father who are considered 100 percent Native American, you would be deemed as having pure blood.

It is this concept that is then carried through the film’s narrative which determines those with Native American blood, immune to a zombie outbreak that occurs.

When we meet our lead characters, they are a mismatch of family members, fractured by the toils that society has placed upon them. There’s the patriarchal figure in Traylor , an indigenous sheriff, who despite being the lead authority in the fishing town, has had his fair share of mistakes to bear his soul. The biggest test that Traylor must face is the bestow upon his two (Michael Greyeyes) sons (both from different mothers) the responsibilities that adulthood brings. One of his sons, Joseph (Forrest Goodluck) has the promise to take on this role, but is prone to self-sabotage and avoidance, which is primarily brought around by the daunting task of becoming a father himself. The other son, Lysol (Kiowa Gordon) seems to be beyond salvation, content on playing by his own rules. Traylor certainly has his work cut out for him under normal circumstances, but this all unfolds in the middle of a zombie outbreak. 

Thankfully, he’s supported by some kick-ass individuals along the way to protect him, his family and community along the way. Among them are his own father, Gisigu (Stonehorse Lone Goeman), a sword-wielding fiend who certainly knows how to hold his own and bastion of his kin. There’s also Traylor’s ex-wife, and mother to Joseph, Joss (Elle-Máijá Tailfeathers), who also happens to be a nurse. In this narrative, she serves as the constant strength and support to her family, despite all of their flaws.

The Prognosis:

The first half an hour of the movie as the zombie outbreak is unleashed, is jam-packed with tension as the lead characters first fathom what they are faced with and then how to survive this ordeal.

Unfortunately the middle section sags a little as the community has set up a refuge six months after the outbreak and learn that they are immune from the virus. The film struggles to stay afloat during this phase and at times feels that it is in danger of losing all the promise that led the stories charge. 

Blood Quantum’s saving grace comes from the strength of its characters. The inner turmoil that is evident in the set up, and like the virus itself, cannot be saved. Instead it is down to the most resilient of them to prevail and find a way out of their predicament. Just a shame it wasn’t able to keep the pace throughout.

  • Saul Muerte

Movie review: The Night Eats The World

17 Sunday Feb 2019

Posted by in Alliance Francaise French Film Festival, Movie review

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The Alliance Francaise French Film Festival is once again showcasing some excellent features this year, especially in the horror genre.
Alongside the glorious, hard-edged, rape revenge film, Revenge, comes the debut directorial feature from Dominique Rocher, The Night Eats The World.

The film embodies Richard Matheson’s I Am Legend with its token male protagonist, struggling with isolation in a post-apocalyptic world over run by zombies, but there the similarities lie.

Set primarily within the confines of a Parisian apartment block, our lone figure Sam (played by Anders Danielson Lie, who is simply divine in this movie in creating his character with charm, charisma, coupled with this awkward mix of inept social skills) wakes up in an apartment room, after seeking refuge from a house party, only to find the afore-mentioned apocalypse has hit and it would appear that there are no other survivors… at least not human ones.

Whilst The Night Eats The World is a bit of a slow burn, audiences are rewarded with the attention to Sam’s character and as the film plays out we warm to his quirks. Sam is clearly a guy who struggles at the best of times to mix with people and would prefer to be holed up on his own, without the company of others. So it’s with some sense of irony that his wish comes true with the zombie outbreak, but through it all, his sense of isolation is heightened and he realizes that even he seeks companionship, which at one point he finds in a zombie trapped in the lift.

Despite his growing agoraphobia, Sam must break down his barriers and leap out into this strange new horizon, if he has any chance to survive in the ‘new world’.

It’s Sam’s anxiety about what may lay beyond the comforts of his four walls that makes this such a refreshing film to watch.

It also contains a feeling of warmth and humour, which juxtaposes the climate that Sam is faced with. This too provides a rich attraction to the movie that allows The Night That Ate The World to stand out and claim its own identity in a crowded sub-genre.

The Diagnosis:

Director Dominique Rocher offers a quirky and delightful take on the zombie genre, by offering a slice of humanity, whilst shining a spotlight on how crippling anxiety can be.

It is a beautifully paced movie providing ample time for the main protagonist to shine, with dramatic moments to pulsate and keep the audience entertained.

– Saul Muerte

Catch the screening of The Night Eats The World at the Alliance Francoise French Film Festival.

Screening times below:

Sun 10 Mar8:10 PMPalace Norton St.
Tue 12 Mar8:45 PMPalace Central
Wed 13 Mar8:30 PMPalace Central
Thu 14 Mar8:40 PMPalace Norton St.
Sat 16 Mar9:00 PMPalace Central
Wed 20 Mar8:50 PMPalace Norton St.
Fri 22 Mar7:30 PMChauvel Cinema
Sat 23 Mar8:40 PMPalace Central
Sun 24 Mar8:30 PMPalace Verona
Mon 25 Mar8:30 PM
Palace Central
Thu 28 Mar8:40 PMChauvel Cinema
Sat 30 Mar8:45 PMChauvel Cinema
Sun 31 Mar8:20 PMPalace Central
Mon 1 Apr8:50 PMPalace Verona
Tue 2 Apr8:50 PMPalace Central
Wed 3 Apr9:45 PMPalace Norton St.
Thu 4 Apr8:45 PMChauvel Cinema
Fri 5 Apr8:30 PMHayden Orpheum Cremorne
Fri 5 Apr8:40 PMPalace Norton St.

Movie review: Anna and the Apocalypse

23 Sunday Dec 2018

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All I saw were the words Christmas zombie horror musical and I said to myself, “I’m in!”
It may sound like a strange combination, but to this deranged and perhaps delusional genre fan, it screamed potential cult flick and a must see, but would it live up to the buzz or flatline?

Based on the BAFTA award winning short film, Zombie musical by Ryan McHenry (which is actually kind of awesome too and I’ll post a youtube clip of it at the foot of the review for those that are interested) and adapted to feature length by director John McPhail, who does his best to draw out the apocalyptic harmonies with drama, and twinges of gore.

Anna and the Apocalypse’s greatest strength is not just the upbeat music among the bloodlust, but the beating heart of its central characters. There is plenty of time spent building on their backgrounds that by the time things inevitably go wrong you actually give a damn about their survival.

Central to the characters is the titular Anna played by Ella Hunt, who dreams of getting far away from the dead Scottish town of Little Haven, only to awaken to a zombie outbreak and must fight tooth and nail to not only survive but reach those she had tried so desperately to leave behind – her friends and family.

In support is a cracker of a cast in the best friend who keeps hanging onto the hopes of winning Anna’s heart, John (Malcolm Cumming) who incidentally has some of the best lines in the movie; the star-crossed lovers, Chris (Christopher Leveaux) and Lisa (Marli Siu); Anna’s ex and complete tool, Nick (Ben Wiggins); and Anna’s father, Tony (Mark Benton).

Stand out performances though come from Paul Kaye (most notable of late in HBO’s Game of Thrones as Thoros of Myr) as the slightly unhinged headmaster, and looks like he hasn’t this much fun on-screen since his Dennis Pennis days; also relative unknown Sarah Swire, who plays a lesbian outcast editor of the school newspaper. She nails this role with her cross of stifled, uncomfortable social behaviour, combined with grit and “bad-ass” zombie killing action.

If I were to hurl any criticism at this film though, it’s that Anna doesn’t bring enough of that grit herself to the fight, and despite being described by her friends as “always finding a way out of things”, she rarely does and often relies on those friends to get her out of a jam. That’s not to say that Hunt doesn’t execute her role well, because she does. Just some more time and care spent on the writing, could have lifted her character to greater heights.
The other sticking point for me is that the comedy whilst worth the odd-chuckle, never reaches Shaun of the Dead style humour. If the wit had been that little bit sharper, we could have well had a movie that would have easily verged on classic status.

The Diagnosis:

The thought of a musical may have some of you running for the hills, but Anna and the Apocalypse is a well-crafted film that embraces its characters before ripping out their bleeding hearts to the sounds of pop-infused drama and soul that make this a thoroughly enjoyable movie.

  • Saul Muerte

Movie review: Patient Zero

17 Monday Dec 2018

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It felt for a while that this film would be in a permanent state of flux and never be released. Generally this never bodes well for its production values and overall receptiveness.

While it doesn’t necessarily blow your mind, Patient Zero does stand taller than your average straight-to-video release.

A lot of this has to do with its lead Matt Smith, a still underrated actor who is perpetually trying to shake his EleventhDoctor (Doctor Who) persona that lifted him to the spotlight. As it so happens, this film was supposed to pave his way into distancing himself from his iconic role and enter the film industry. Thankfully Smith landed another role that he has made his own as Prince Philip in The Crown in the interim.

All this is background fodder to Smith’s career path, but the fact that Patient Zero faltered in its cinema release shouldn’t deter people away from watching it, as it is a fairly stable narrative with enough of its own identity in an already clouded zombie horror genre.

Smith plays Morgan, a guy who was caught in his car with his wife when the outbreak occurs and lynched upon by the infected. Both he and his wife were bitten, but somehow, Morgan didn’t turn and is now able to communicate with the infected as a result.

Now holed up in a base that contains survivors and is run by the military in a Day of the Dead style scenario, Morgan utilises his gift to interrogate the infected with the curious aid of classic vinyls. (Apparently music has an intense effect on the psyche of the infected and as such Morgan uses this as a form of torture device in order to get information.) The aim is to find and locate patient zero and to snuff out the virus in order to save humanity.

Smith is an affable leading man and holds his own both physically and mentally on screen, with plenty of decent dialogue to chew on, allowing him the freedom to move and play with his role, including a love triangle between his wife, (still alive, but quarantined) and virologist Dr. Rose, portrayed by Game of Thrones’ Natalie Dormer.

Comedy support is brought in the form of fellow GOT actor John Bradley and the steely, play-it-by-the-book Colonel Knox (Clive Standen) channeling Rhodes with every ounce of determination to shut down the testing facility, brings the early inner conflict to the team.

It’s the arrival of Stanley Tucci however when things get really interesting. Tucci is The Professor, an infected zombie brought in for questioning but appears to be immune to all the known tricks. He hams it up to the nth degree, but delightfully keeps it under the right side of believability and feeds off Smiths lines effortlessly.

His arrival spells a significant turning point in the movie and propels the drama on to a suitable conclusion that mildly satisfies.

The Diagnosis:

It’s an apocalyptic zombie survival movie that offers enough of a difference to make it worth a watch, but doesn’t deliver enough bite to keep you salivating, slipping all to easily into safe and predictable territory.

  • Saul Muerte

Movie review: Overlord

06 Thursday Dec 2018

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From Iron Man to Iron Man II, throw an AC/DC track on a film trailer, and it automatically makes it awesome.
That appears to be incontrovertible, and the extra cool thing is, as a band they have been around for so long, they are practically their own genre.
Which means you could make another 10 trailers for 10 separate films using 10 different Acca Dacca songs, and they would all be fierce!
And this is even taking into account that they’d all sound the same…. but not really… (but yeah really. Ish).

Anyway, this brings us to the JJ Abrams produced WW2 horror film Overlord, which – as just mentioned; because of its soundtrack alone – appears to promise much. But does it deliver hells bells or more dirty deeds done dirt cheap?

The rumour that it was a Cloverfield prequel (which is bound to happen if the words “horror” and “Abrams” are mentioned in the same sentence) is a nice one, but not really warranted.

For a start, the Big Bad is pretty much as you’d expect based on the afore-mentioned trailer (zombies born of science!) so thematically we’re not talking space Godzilla.

Plus, the one thing that ties Cloverfield and Cloverfield Lane (I think it’s safe to say we’re all retconning Paradox out of our collective memory) is that they are brilliantly constructed and well unfolded films – they both keep moving at a real page-turning pace.

And that’s where Overlord falls down. Its opening 15 mins IS breathtaking – although it is spoiled just a tad by the fact Tom Cruise already sort of did it in Edge of Tomorrow (ie: airdrop on a war zone ahead of schedule due to plane-blowing-‘upage’).

But from there it gets a little bogged down in pace by not really giving you anything that keeps you guessing, or shouting “sick twist bro!” in your head.

In fact, from this point onwards the tension is fine but not seizure-inducing – and the filmmakers decision to spend time on some character interaction (as opposed to not jumping straight into the next action piece) is to be commended.

overlord flame torch

But before too long you do find yourself wishing it’d get on with it.

When it does it’s not exceptionally ground breaking – although the tension and scares are certainly there. And there is one more moment that you’ll be YouTubing for years to come, as it’s an awesome scene. But apart from that you are left with a taste of this-could-be-great-but-it’s-definitely-under-cooked…. parmigiana.
And that’s just good chicken that (whilst good) will let you down.

If you do see this movie, give it an IMAX level viewing (or if it lines up in your neck of the woods – 4DX) because trust me,the louder this film is when you see it, the better your ride will be.

The Diagnosis:

Although not terrible, it definitely could have done with another layer of messed up, or one more smart idea, or just some good old fashion clever dialogue.
From that point of view, Dead Snow was a better Nazi Zombie movie.

  • Antony Yee