Tag Archives: zombie

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 Dead Don’t Die

29 Sunday Sep 2019

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The Dead Don’t Die is a classic example of how marketing can abuse the cinema-going public into flocking to the cinema in anticipation of a certain type of movie based on its trailer, only to be completely underwhelmed. Packed with an awesome cast in Bill Murray, Adam Driver, Chloe Sevigny, Tilda Swinton, Tom Waits, and Danny Glover, to name but a few, we’re led to believe that the film would tap into a beating, bloody pulse, with rampaging zombies and killer comedy lines akin to Shaun of the Dead. In some ways, it felt like “they” were trying to market an independent, off-beat film and project it into mainstream culture to ride the coattails of a genre that is hot property right now. You could argue, that this is the job of a production distributor, and if they are comfortable with pulling in the punters and forego the negative backlash, then so be it. In this humble writers mind, it sets the movie in a bad light and the shadow that this may cast will be forever enveloped in darkness. 

Those who are more familiar with director Jim Jarmusch’s work though, may have gone in with a more open mind and curious to see how he would weave a horror-themed element into his minimalist narrative. There’s a reason that big-hitter names are constantly drawn to his style of work as Jarmusch favours character development and eccentricity tends to be brought to the fore among a slow-yet-comedic pace. Movies such as Night on Earth, Dead Man, and Ghost Dog: Way of the Samurai resonated with the cinema-going public in search of an alternate view on the celluloid screen. So, I was hopeful that TDDD would pep along and perhaps add something to the genre that would offer something fresh to the mix. Unfortunately the offering is stale and weak in comparison to Jarmusch’s early work and there is nothing new on the slab to satiate fans of the genre. It’s almost ironic that the look and feel of the movie is reminiscent of B-Movie horror films of the 50s, (possibly an area true to Jarmusch’s heart) in that TDDD is trapped in this time and place and feels content to sit in its world, unwilling to conform with modern trends and interests. Similarly, its leads Chief Cliff Robertson (Murray) and Officer Ronnie Peterson (Driver) are stuck in the middle-town sentiments, that they are the rest of the town are doomed to the post-apocalyptic zombie crisis that has fallen on them. In fact, it’s the bumbling hermit (Waits) who is content in living amongst the wild and restless that may outlast and outwit them all, which in of itself poses some interesting questions. Questions that by the films conclusion, most viewers would have lost interest.

The acting was strong and a stand out for me was Caleb Landry Jones (Get Out) as the gas station attendant and is fast becoming an actor to watch, but ultimately there wasn’t enough substance to grip my attention.

The Diagnosis:

For horror fans, this movie is D.O.A.

For Jarmusch fans, it’s full of nods and references, but it isn’t on par with his best movies. One for completists only.

  • Saul Muerte

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: Cargo

03 Wednesday Oct 2018

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Cargo is a zombie film – supposedly filled with gore, scary bits, and tension. Which it is. However, unlike your stereotypical low budget Z movie, Cargo has some real, raw emotions presented by all the characters; accompanied by some absolutely stunning shots of rural Australia. Some scenes in this film are beautiful – human beautiful and scenic beautiful.

It starts with a family of 3, Andy (Martin Freeman), Kay (Susie Porter) and their baby daughter Rosie (played by something like 4 separate babies, because child labour laws exist for a reason).

We find our threesome slowly flowing down a waterway on a riverboat, which (it is soon implied) is not theirs (ie: they’ve knicked it). They then discover another young family camping on shore, with the father being played by Andy Rodoreda; the actor who portrayed Martin Freeman’s character in the original Tropfest short that THIS film is based on.
Which must have been a weird experience for him, but if he wanted to hold onto his part, he should have been more famous. Its called show business and not show charity for a reason…

Anyway – from Andy & Kay’s dialogue and various other tell-tale signs – like Rodoreda threatening Freeman off with a gun (probably because he stole his role…) we get the impression an apocalypse of the Z kind has happened, and humanity is hanging by a thread with survivors quickly running out of options.
That’s when “the incident” happens (which you just KNEW it would) that changes everything between Andy and Kay (and their daughter). And soon incredibly tough decisions of the “what would you sacrifice” kind have to be made. What would you do? And perhaps more importantly…what wouldn’t you do…?
It is this theme that fuels the movie, and it takes a powerful performance to pull it off. With Freeman they get it.

Set against the backdrop of Australia’s unique beauty, it is clear that a lot of thought has gone into the cinematography. From a native plant in the corner of the screen, to the sun accentuating the features of the actors; every frame is truly a painting.

The Diagnosis:

Cargo is a well thought out, beautiful, tension filled zombie film that will do something very few horror flicks can, because whilst the best ones make you scared or tense, very few can also make you cry. Cargo will do all three.

  • Charlie Owen.

Movie review – The Cured

03 Tuesday Jul 2018

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Back in 1968 George A Romero created what is now commonly accepted as a zombie in modern mythology with the classic Night of the Living Dead.
Since then the celluloid screen has been saturated with reanimated corpses ranging from 28 Days Later to The Walking Dead and everything variant in-between stretching into the Rom-Zom-Com, Warm Bodies and TV series iZombie.

Each example has tried to inject something different into zombie make-up to differing effects, and some may argue, (much like how vampires cornered every pixel to exploit the popular phase that it was going through), that zombie stories are becoming stale and decadent as a result.
So it’s heartening then to see that as the genre starts to shuffle of its mortal coil before reawakening in a brand new cycle, that we get a fresh take delivered by the creative mind of writer, director David Freyne with his feature debut, The Cured.

Conceptually it looks at the aftermath of a zombie outbreak where a cure is found for at least 25% of those that were infected, but the catch is that they can recall everything last gory detail of the time when they were consumed with the virus.
This leads to animosity from the wider population who are more than skeptical about allowing ‘The Cured’ back into society.
With this proposal set in place, we have a very different movie unfolding for the audience.
One that centres on isolation, segregation, racial hatred, and the extent humans will go to in order to establish security, and separate themselves from those less fortunate. Suddenly this movie becomes a smarter proposition.
Throw in the Irish setting, which as a country has seen its fair level or turmoil and unrest, and the acting talents of Ellen Page and then it becomes heavily grounded in its storytelling.

Told through the eyes of Senan (Sam Keeley) who is one of ‘The Cured’ returning to his hometown to live with his sister-in-law Abbie (Page) and her son. Not only does he have to struggle to fit back in, but also harbours a secret that he carries from the time that he turned.

The tension mounts as he tries to contain his guilt and the pull he has towards fellow ‘Cured’ survivor Conor in an added component to mythology has become an alpha zombie, displaying strong telepathic skills over the zombie horde and fellow survivors. He utilises these traits to plot against the current regime and tear down the walls of civilisation and the security that accompanies it. The metaphor on terrorist acts in Ireland isn’t lost here.

Only Senan knows the truth about Conor’s plans, but does he have the strength to expose them without unearthing the truth about him? Should he stick with his own kind knowing that goes against his beliefs or hold on to the last piece of humanity that he can?

 

The Diagnosis:

It’s a bold approach and much like the film Cargo, it ventures primarily into the drama genre more so than horror, but manages to weave in the latter with great effect. Not all horror lovers will warm to the choice in storytelling, but with great direction and superb acting, The Cured does enough to offer a new slice in the zombie world to feel fresh and inviting.

 

  • Saul Muerte

Movie review: It Stains the Sands Red

25 Monday Sep 2017

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Of all the movies listed in the SUFF schedule, It Stains The Sands Red was the one that had me the most intrigued.

Directed by Colin Minihan, one half of the Vicious Brothers who brought Grave Encounters to the screen, but don’t let that deter you from seeing this movie.

Although, much like our last review on The Bad Batch and the podcast on It Comes At Night, the trailer much belies the film.

I did wonder how the premise of a woman stranded out in the Nevada desert during a zombie apocalypse whilst being pursued by a a lone walking dead, could possibly maintain its narrative without straining at the seems.

Whilst it does struggle in places, there is some nice enough moments broken with flashbacks detailing Molly’s dilemma.

Having fallen from grace and found her life spiral out of control Molly has landed in with a questionable crowd.

Heavily reliant on drugs, her clouded mind begins to clear as she is forced to endure the environment and head for an airport and ultimately salvation.

The fact that It Stains The Sands Red never shies away from what it means to be a woman from dealing with menstruation and turning that into empowerment is a huge salute to Minihan’s direction.

Brittany Allen cuts a fine performance as our lead Molly who is believable as we learn that she had left behind her son in what she believes is the safe hands of her sister.

The realisation soon sinks in that she must act, and take responsibility for him by getting back to him but not before going through a journey of humiliation, desperation, and appreciation.

One could argue that the BIG flaw of this film comes in the guise of the afore-mentioned Zombie, who Molly dubs Smalls after the size of his appendage.

But to state that means that you miss the point of the film, where Molly must find redemption in order to get her life back on track.

Her domestication of Smalls, ultimately lends her to adapt and by looking out for him, she can take on the skills she needs to look after her son once again.

By the time the film concludes, Molly could easily stand shoulder to shoulder with Ash (Evil Dead) in Her battle for survival.

Yes, she is a bad-ass, but needed to be forced into the unimaginable to get there.

This might not be for everyone and those expected an all-out gore fest in the heart of a desert wasteland maybe sorely disappointed, but I for one really enjoyed It Stains The Blood Red and feel that Minihan is growing from strength to strength as a director. 

  • Paul Farrell