Train to Busan

Sang-ho Yeon, 2016

IMDB

4/5

When we saw how fast the zombies were moving in Danny Boyle's 28 Days Later, we realized that one specific tweak changed the genre drastically. This was a different universe than Romero's where you could quite easily dodge the walking dead. These were frenetic terrors hellbent on attacking you. They jumped through glass. The crowds moved swiftly. So some future films followed suit and these were now placed in the category of fast zombies. Zombies that could run. REC, the remake of Dawn of the Dead, Zombieland. There are zombie purists who discount this change to the genre. They believe that zombies should inherently be slow moving. I am not one of these people.

Jump to 2013's World War Z and we not only have fast zombies but there is another level of intensity to them. Perhaps it's the massive numbers that are moving quickly. Rapid virus transfer. Inhuman biting actions. These things pile on top of each other, go airborne, take down helicopters. Terrifying.

Korean film Train to Busan captures a similar ferocity that World War Z had. The only difference is much of the movie is set inside a train. So the movie itself becomes this hybrid offspring of World War Z meets Snowpiercer. Like Snakes on a Plane, but Zombies on a Train. Complete terror that is unleashed in a tight space.

There are so many memorable moments in this film. The image of when they reanimate and you can hear the bones breaking and they get into these contorted positions, damn its freaky. I don't think i will ever get the image out of my head of the zombie running down the train platform with the broken arm that is sticking straight up the air. Busan is without a doubt one of the best zombie films to come out in the past 10 years. Maybe even the best. Yeon manages to get you invested in the characters with their vastly different personalities. You are really rooting for the couple or so to make it out in one piece. Then there are others that you are begging to receive some comeuppance. One guy in particular, Yeon creates this one character (corporate POS Yong-Suk) that is just so completely selfish that you are eagerly waiting for some karmic balance. The film itself is an interesting concept, the world around you completely falling apart while you are stuck on a high speed train that is also falling apart but on a more micro scale. The special effects are remarkable. These are really rabid-like zombies. There's no 10 minute break from death to reawakening. This virus spreads very rapidly. It's a matter of seconds. Train to Busan is a solid offering to the zombie genre that I believe history will be very kind to. Hopefully now that it's receiving international distribution (currently through streaming services) it will get many more eyes on it.

A Scout's Guide to the Zombie Apocalypse

Christopher Landon, 2015

IMDB

3/5

The zombie comedy / zomedy genre is a growing one and thats a good thing. If it weren't for these variations on the genre we would just have a stale template with slightly different tones in six new cinematic installments every year. Edgar Wright's 2004 Shaun of the Dead could easily be regarded as the harbinger of this new generation of zomedy films and is the reigning jewel. Romero's decades of contributions certainly had comedic elements in it, but they were all still rooted in serious tone where people feared what was going on around them. One of the distinctive attributes with the Zomedy genre is the oblivious nature to it. The people aren't distracted by the collapse of civilization. There's more of a silly video game fun-ness involved.

Scouts Guide is more like Zombieland than some of the other Zomedies in it's sandbox model and conspicuous stylism. But it's much sloppier than Zombieland. In fact, it's quite the mess. But there is one thing that saves Scout's Guide from pure spoil. It's the unique scenarios that it creates. These scenarios excuse the movie to a certain degree. Cat zombies, Zombies on trampolines, stripper zombies, zombie Britney Spears fan. Absolutely ridiculous, yes. But absolutely entertaining and undeniably funny. If someone can sit there and watch a zombie mumbling Britney Spears lyrics and not at least chuckle, I'm not sure what will make them laugh. These scenarios make you laugh and make you laugh a little again the next day just thinking about them. You will want your friends to see them too so you can laugh together. Scout's Guide isn't breaking any ground by any means but it's a junk-food Zomedy delight.

What We Become

Bo Mikkelsen, 2016

IMDB

3/5

There is a certain template to most of the zombie films that are churned out these days. Outbreak occurs, main characters are shocked and are forced to react, some of them die, some survive and attempt to start a new life. Every now and then a film comes along that tries to do something a little different here and there, but there is a generic mold to most of them that they follow.

But here's the thing; I don't mind. Like a slice of good cheeseburger, I just need it to be satisfying and do not mind if it's predictable. I don't need constant variety by adding shaved fennel or truffle oil. Just give me a good burger and I will eat it and like it. As long is it goes down easy.

What we Become is like this. A Danish zombie film that knows what it is and doesn't attempt to reinvent the genre by making bold leaps. A sudden viral outbreak occurs; a small town reacts. The military attempts to suppress the outbreak by forcing local residents to stay in their homes which have been wrapped in plastic sheets. The residents are left wondering what is actually occuing outside their homes. Some of them are showing signs of the sickness. Some of them pass from the virus. They reanimate and chaos ensues. Just a rather satisfying zombie film that goes down easy. Not much else to say. It certainly doesn't have a big budget feel by any means. Most of the budget seems to go to the makeup department like it often does with the genre.

The Last Days on Mars

Ruairi Robinson, 2013

IMDB

2/5

On paper, The Last Days on Mars is a movie that I probably should have liked more than I did. A group of space explorers, led by Vincent Campbell (Liev Schreiber), stumbles upon an organic microbe on Mars that infects the astronauts and basically turns them into space zombies. Just the idea of space zombies is great. Not done a lot, a variation from the saturated horror sub-genre.

But Last Days is a film that's just lacking. Definitely not from a production standpoint. It's always amazing how, even bad space movies, always seem to have really elaborate production design. The spaceship and it's surrounding areas looks and feels authentic. You never are thinking that it's just a group of actors in space-suits sweating their asses off in a desert in Jordan (where it was actually filmed). You discover that their clock has basically run out on their mission, leaving them with an experience but with nothing really tangible in terms of a monumental discovery. This displeases them, particularly Kim (Olivia Williams). She was clearly hoping to be one of the explorers to really find something to bring back to planet earth. Something that would give them immortal status in the science world. When Marko (Goran Kostic) discovers microscopic life in the lab, he secretly dips out to get more samples. At this point the film really has you locked in, eagerly awaiting to see what is in the petri dish.

But the film becomes a far cry from Alien. Weak script is really to blame. This is a group of scientists, and nothing that ever really comes out of their mouth feels very scientific. When Vincent is lowering himself into a sinkhole, he sees some stalagmites. You would think his assessment of the organic matter would solicit some intelligent response, but instead he says something along the lines of "whatever it is, it's alive". Oh wow. Even Avatar managed to provide significantly more sophisticated dialogue when you were in that alien world. The film never manages to carve out it's own niche. It just becomes another horror film of the scary thing picking everyone off without any twists and turns. The film does manage to weave together an interesting conclusion. This is definitely a film that could be added to a list called "Bad movies that could have good sequels".

Frankenstein's Army

Richard Raaphorst, 2013

IMDB

3/5

On paper, it’s a film that probably won’t pull a lot of people in. A group of Russian soldiers push into German territory during World War II, only to stumble upon a building filled with undead monsters. It feels like a tired premise, and Nazi zombies have certainly been touched on before with Tommy Wirkola’s 2009 indie-horror Dead Snow. Some of the early moments of the film feel blaringly under-funded, fighting sequences that are lacking in numbers. You need to move past that. You need to move past the idea of Russian and German troops speaking to each other in English. You need to get past the ridiculousness of a World War II-era found footage film. Because if you can past all of this, the building awaits. This building, is filled with some of the most horrifying, provocative creations ever built in the horror genre. Oh you know, things like reanimated soldiers with sawblades for arms. Army certainly has some hints of fellow brutal indie-horror The Human Centipede. Dr. Frankenstein’s creations that he unleashed upon the outsiders are a showcase of great makeup work and artistic ability. A small treasure of a film that’s just begging to be put on during the Halloween season, it’s a movie that knows what it is and is certainly comfortable enough attaining cult status rather than classic status. If you’re a fan of the genre it’s possible to buy into spending a bit of time in an undead carnage-factory led by an insane genius with a magic switch.

Wyrmwood: Road of the Dead

Kiah Roache-Turner, 2015

IMDB

3/5

Any fan of zombie cinema probably has some degree of fatigue at this point. Oh, another movie about a zombie outbreak where everyone has to fight them off to survive. And it's turned into an inescapable theme. They are everywhere. Zombies have crept out of the cult-category and are now ubiquitous. They aren't underground, they are in the mainstream. The Walking Dead is the highest rated series on cable. World War Z brought Max Brooks zombie novel out of the literary world and into big budget Hollywood. So this means there are books, television series, small budget films, big budget films. Half of the Halloween outfits you see this year will probably be zombie related.

So at this point, for the most part, we aren't likely to see anything revolutionary or groundbreaking in the genre. With an over-saturation present, filmmakers should be more focused on aiming to create something that has some stylistic integrity, something individually artistic.

Wyrmwood, the most pirated Australian film in recent history, does just this. It's a self-aware zombie film with a rather simple premise. A rapidly spreading virus has hit the Outback infecting basically everyone that comes into contact with it unless they have a specific blood-type. Nothing new, right? But it's the execution of this basic premise that makes Wyrmwood a rather engaging zombie film. 

Equipped with a terrific makeup and special effects team, Wyrmwood is able to create a 90 minute zombie picture that doesn't get slowed down with unnecessary character development. It's intention is not to create depth but more sudden shifts and frantic pacing. The disease itself is relentless and unforgiving, spreading to friends and family with unhampered force. Unlikely friendships are forged quickly because the only choice you have is to team up with any living soul in close proximity to you. Not really much time to build trust by feeling someone out. It's another zombie film where life has become cheap very quickly, and the key to survival is not hesitating and being as resourceful as you can in whatever situation you find yourself in. 

[REC] 4: Apocalypse

Jaume Balaguero, 2015

IMDB

3/5

[REC] 4 is the fourth installment in what was originally a found-footage zombie horror film. Ever since the first film, they have ventured out of pure found-footage style and into a more conventional approach. In the previous installment REC 3 Genesis, there almost seemed to be a deliberate dismissal of the found footage technique when the wedding cam was ditched and the rest of the film was shot normally. This film makes no effort to pay tribute to it’s found footage roots. It also joins the last film in it’s utter distance from the first two. Yes, Manuela Velasco returns in her Angela Vidal role, but it really feels like a film that has grown substantially from it’s original form and is now feels more unrelated. Almost like a family member that has moved to a different state and then returns ten years to a family BBQ. Perhaps this is because it’s the first in the series not to have Paco Plaza co-directing with Balaguero.

REC 4 might as well be called Zombies at Sea. Balaguero obtains access to a giant vessel where the entirety of the film is set. Dark hallways, constant power loss, loud engine rooms, narrow corridors provide a limited and claustrophobic setting to make things even more frantic when shit hits the fan. The inevitable outbreak is actually well timed, and it manages to work with an engaging energy through the whole movie.

One annoyance in the film is the moment where they are accusing each other of harboring the demonic parasite. We witness a scene very much like John Carpenter’s The Thing with a lot of finger pointing and "no, you have the parasite in you!", but the transfer of the parasite feels forced and wasn't really set up quite well. Sleight of hand would have been an understatement. Of course it needs the exchange to happen to have the obligatory plot twist at the end, but it should have been orchestrated better. Ultimately you know what you are going to get with the REC franchise at this point, and for the most part it delivers. The films have evolved to a point where they are much different than the original. You can assume there will be a [REC] 5 at some point down the road. Maybe they will try to capture some of that original spirit by going back to the found footage style. Or maybe not. Either way, fans of the zombie genre are quite loyal and they will probably keep coming back. We have seen a REC apartment setting, a wedding setting, now a boat setting. What next? REC 5: Lost in the Woods? REC 6: Hospital zombies? For a lot of movie franchises these frequent entries would exhaust themselves quickly, but as long as it continues to hit some of the same beats there should still be some gas in the tank with these.

Dead Snow 2: Red vs. Dead

Tommy Wirkola, 2014

Can I Stream it?

3/5

Picking up at the end of the first Dead Snow film, Martin (Vegar Hoel) manages to escape the small army of Nazi Zombies. But he soon finds himself in a hospital and subdued. He discovers that obtaining their gold wasn't the only thing that the Nazi's wanted. They also want to fulfill some missed opportunities from World War II.

You always hope that a sequel can take the original premise of it’s predecessor and build upon it. Dead Snow 2 certainly does this. While the simple story-line of the first film worked well, the sequel manages to elaborate on the premise. At times it's completely ridiculous. On paper, the plot is preposterous. But because it's put in the right hands, it works. It works because it never takes itself seriously. It ventures into the Shaun of the Dead zomedy realm, while also riffing on 1999's Idle Hands (possibly the first film to do so). It pokes fun at the American obsession with the zombie genre, and the sci-fi genre for that matter. Not afraid to employ such tropes as the bored cop looking for some action. The protagonist assembling a group of amateurs to take on the big big boss, the David vs. Goliath device. It doesn't hold back on the gore, being completely unforgiving to humans old and young. Wirkola gets quite creative with the carnage: zombie pets, organ extraction, siphoning gasoline through human intestines. It probably won't work on everyone, either. Some people likely expect more of a serious Walking Dead-like approach to the zombie genre. But films like this are great because they aren't afraid to venture out a bit, attempting to shift to something other than cold Dystopian horror. When the zombie movies stretch into the comedy realm its refreshing, serving as a palette cleanser of sorts. In fact, most of them are pretty good (Zombieland, the aforementioned Shaun of the Dead, Fido, My Boyfriend's Back, Warm Bodies to name a few). The general zombie genre is an over-saturated category of film with more bad than good. Dead Snow 2 manages to evolve from the ordinary, taking some risks that could have just as easily placed it in the campy realm but instead puts it right up there almost on the same level with Edgar Wright's 2004 zom-com.

[Rec] 3: Genesis

Paco Plaza, 2012

Can I Stream It?

3/5

The lavish wedding of Clara (Leticia Dolera) and Koldo (Diego Martin) turns from complete enjoyment to pure terror when an ill guest suddenly starts attacking those gathered around to help him.

Paco Plaza has already proven himself worthy of making a good zombie film in the found footage genre with the first two Rec films. While those films are very much attached to each other in that one flows right into the next, the third is basically removed completely from that previous story-line. In the third, the found footage shaky cam actually grows tiresome rather quickly so it's happily welcomed when he abandons it early on for more of a traditional style. This is immediately after he drops the Zombie Mento in the Diet Coke Wedding Scene and just lets all hell break loose. What follows is some freaky imagery from what many believe is a worn-out genre. Loved ones quickly shifting to killers. Bloody hands pressed up against frosted red glass, eager to break through. Some particularly gruesome killing moments, to be expected with the sudden introduction of medieval weaponry or electric cookware. Great camera work in a tunnel when the clock is ticking. A simple story of two lovers trying to reunite amid the chaos of their own family members/wedding guests turned-demonic zombies trying to kill everything in their path. Plaza has never tried to reinvent the wheel, but rather carve out his own niche when it comes to style. The [REC] films are underrated and not very talked about when it comes to zombie films, probably because they are foreign and don't have the name Romero attached to them. The third one in the series is worth a watch if you're into this kind of thing, and you don't even have to see the first two and can drop right in to this one.

Warm Bodies

Jonathan Levine, 2013

Can I Stream It?

3/5

Young zombie "R" (Nicholas Hoult), who retains a sense of consciousness after turning undead, finds himself changing yet again after coming into contact with  living human Julie (Teresa Palmer).

Jonathan Levine's heavily-CGI'd Zom-Rom-Com takes the threadbare zombie genre and ultimately delivers a refreshing twist. In a plot that could be pitched as My Boyfriend's Back meets BBC's In the Flesh mini-series, Levine provides an engaging story that is delivered using a simple three-act structure where zombie gets girl, zombie loses girl, zombie gets girl back. Through elaborate digitally-constructed set-design, Warm Bodies reveals a dystopian graffiti-glazed landscape where humans are really faced with two opposing forces: quick-moving zombies and even-quicker zombie sub-class Boney's (who greatly resemble the creatures in I Am Legend). The streets, largely unforgiving, are closed off by a fortified wall protecting the remaining surviving humans from the hungry brain-eaters in the remnants of the old city. Levine creates zombies that hunt in packs and have routines. When they capture a meal they feast on the brain. This gives them the ability to absorb their memories, all of which is displayed through snappy editing in which you yourself feast on the eye candy of warmly-lit sentimental moments from the unfortunate victim's past.

It's not only what Levine does with the story that makes it work, it's also what he doesn't do. He doesn't dumb the film down by spending time explaining things to the newcomer. He effectively lays out the back-story by using R's narrative. He also doesn't make things unnecessarily complex either by making the often-used social statements or satirical notes like so many other zombie films. Instead, he introduces you to R, who can barely mumble a word in the first few minutes. It's a slow build. At first you're stuck in the confines of an airport fuselage listening to old Dylan LP's with him. But as R's heart begins to beat again, and the color slowly returns to his face, the story comes to life. By the climax, you're on board and wish you could be there with a baseball bat in your hands fighting alongside everyone. 

Rammbock

Marvin Kren, 2010

Netflix

3/5

Michael (Michael Fuith) has recently broken up with his girlfriend Gabi (Anka Graczyk). He shows up at her apartment unannounced to return her key and hopefully convince her to stay with him. His bad timing is proven when the world outside of the apartment is hit with a rapidly spreading virus, and Gabi is nowhere to be found. He seeks refuge in the apartment with a plumber's apprentice who happens to be working there.

It's hard to convince anyone to watch a new zombie picture. It's a very much over-saturated genre. Most of the zombie films that are released are poorly made, no question. Most of them steal certain attributes from their predecessors. Been there, done that. So someone convinces you to put on the new one, and you sit there hoping to be surprised. And honestly, the odds are against you. But alas, a German zombie film. Perhaps the Europeans have different standards? Perhaps they don't see a Romero film and say "Hey, I can do that! Perhaps they have never seen an episode of The Walking Dead. They probably have. But rest assured, there is a decent one here. It's hard to make a zombie picture nowadays and have it be COMPLETELY unique.

But this one is done pretty well. It's a zombie film that's short and sweet. The film opens up and you are immediately introduced to Michael, who is really the every-man character. Balding and not in shape. He fantasizes about getting his girl back. He shows up to her apartment with an image in his mind of her opening the door and immediately hugging him, telling him it was all a huge mistake. Instead, he is faced with an unforeseen obstacle. A zombie pandemic. Who could see that coming? That premise is so over-used, but to Kren's credit he draws out his story effectively and with some unique touches. And in the end, it could be considered a clear limited storytelling piece. Muted colors. A sense of urgency. Erratic camera work that puts you in the narrow passageways. He sets his time clock short. You have about ten seconds to remove yourself from the room, or you are screwed. And you removing yourself from the room may mean throwing yourself in the next room, much smaller, with no exits. Walls become smaller, claustrophobic. Simplicity is the strength of the film. Kren knows he isn't breaking new ground, and he is not trying to.What he does offer is good camera work, impressive acting, and a beautifully constructed love scene in the final act that is certainly him signing his name on his love letter to Jaume Balaguero (REC).

State of Emergency

Turner Clay, 2013


1/5

An explosion at a chemical plant causes a toxic chemical to leak. Local residents become infected and turn into flesh hungry monsters. Jim (Jay Hayden) finds a few other uninfected people in a nearby warehouse and teams up with them to pool resources.

The opening of the film shows a bit of promise, but that soon turns sour. The noticeable use of sound early on in the film begins to feel augmented, and soon becomes distracting. The dialogue begins and it soon feels like an 8th grader wrote the script. Completely elementary. Bad CGI with the helicopters flying over at night. And then, the poor editing. Oh no. There is a moment where one of the characters gets attacked and you only see him fall with the attacker missing from the shot. Jim goes to scream and the audio is not even aligned. Devoid of any flare, completely forgettable characters. Amateur hour.

The film lacks any moral dilemmas or any social commentary. No satire. Just a group of people, in a warehouse, lots of noises outside. Even the newscaster on the choppy news broadcast was uninspired. These horribly made zombie films really just reinforce how well made 28 Days Later was. Or even borrow a chapter from The Walking Dead. With that series, you become so invested in the characters that it's like losing a family member when you see one go. George Romero could have done a better job with this film if he were drunk.

This film completely lacks character development. When there are jumps in timeline, you only go back to see Jim in the not so far past where he's just as muted and flat as his present day character is. Jay Hayden looks like Richard Gere mixed with Peter Facinelli (Can't Hardly Wait) without any of the acting chops. Jim meets the girl that doesn't talk, because shes been through some traumatic event. Little does Jim know, that all he has to do is be mildly persistent and she'll open right up. She opens up and you hope for some much needed acting. It doesn't come, and you wish she would have stayed muted. It's hard to get behind characters that you really are not invested in. Not only that, but the survivors locked up in the warehouse appear to outnumber whatever is outside! Can you really call it a zombie infestation when 50 minutes into the film you have only seen one of them? Not sure where the $1.5M budget went on this film. The makeup artist and the sound editor should leave this film off of their resume, because they should be entitled to some future work. Turner Clay, however, I don't know. I hope this wasn't the film he set out to make. Maybe this just isn't his genre.

Hellraiser

Clive Barker, 1987


2/5

Larry (Andrew Robinson) and Julia (Clare Higgins) move into Larry's childhood home to get away from the city. When moving in they discover that his long-lost, not-really-missed brother Frank had been staying there some time ago. What they don't realize, is that he's actually still in the house in some form: just trapped in an alternate dimension with demonic torturers.

The campy film runs on some quality editing and surprisingly good effects. At times some of the visual effects are similar to those in The Fly. Other times they appear to almost be on par with Alien. The only time this becomes distracting is when you see that horrible, much forgotten 80's electricity effect. The only part of Back to the Future I do not welcome with open arms. The only part of Bill & Ted's Excellent Adventure that does not bring a smile to my face. The progression of Frank from slime to mobile zombie is quite entertaining. Other features of the film are feel very dated (fashion, humor, sound). The deterioration of Julia feels far-fetched and forceful. Larry's character feels like a caricature of 1980's Dad. Their daughter Kirsty (Ashley Laurence) is the quintessential frightened female who doesn't know which door to run into. In the end, while there may be a mildly surprising twist in the final act, the film feels anachronous and predictable.  

World War Z

Marc Forster, 2013


3/5

In this adaptation of the popular Max Brook's novel, Gerry Lane (Brad Pitt) is a former UN employee who has to renew his role to help stop an outbreak that is moving so quickly that the entire human race is quickly vanishing by the millions.

Marc Forster (Monster's Ball, Quantum of Solace, Finding Neverland) directs this story that is an interesting take on the zombie genre. It focuses more on the macro effect of a zombie outbreak than the micro. Instead of following a small group of survivors, you are witnessing a group of panicked high-ranking military officials strategize as large governments have fallen. Instead of a simple foot pursuit, you're seeing swarms of creatures piling on top of each other and hanging fearlessly from helicopters. They come very rodent-like in that sense, which ultimately feels more realistic. The zombies in the film are pretty terrifying (although they look more like the creatures in I am Legend than a George Romero creation). Rapid infection turns into seizures, which is followed by the sound of their bones breaking as their bodies make erratic twitches and jerking movements. The first ten minutes of the film are gripping as the outbreak hits Philadelphia while Gerry and his family are stuck in their car in the middle of a traffic jam.

The biggest flaw with the film is the fact that it has a PG-13 rating. It watered down the carnage, which one would come to expect in this age of The Walking Dead. When the camera pans away quickly to avoid the view of bloodshed, something just isn't there. That makes films like 28 Days Later stand out so much, that sense of realism. There is a certain requirement for gore that reinforces the barbaric nature of a zombie. Also, with that PG-13 rating you lose a certain sociological component. The unpredictable nature of not only the zombies but fellow humans. People aren't so willing to open their doors to strangers in the middle of the apocalypse. You find that the world is limited to three commodities: guns, gasoline and food. World War Z lacks that dystopian element. You don't get a sense of that darker side of humanity in this film. Instead, strangers open their doors and offer food and shelter. Generous and inspiring, yes... but not realistic. Part of what makes zombie films so interesting is not only the idea that you are fighting off these blood-hungry creatures - you are also fighting off your fellow man. At the end of the day, it's just not THAT type of zombie film and that's still okay. The action sequences are satisfying and Brad Pitt is effective in his role as Gerry. Pitt dedicated the film to his two sons, who are both zombie fanatics. I suppose there is room for both types of films in the genre, and World War Z still makes an impression with some original ideas and visual elements.

The rumors were running wild during the production of World War Z. The ending was re-shot which pushed back the initial release date (Q1 2013). The ending of the film leaves it open for a sequel, but ultimately does a good job of wrapping things up. It certainly seems to be well-received - people were actually applauding in the theater during the end credits.

[REC] 2

Jaume Balaguero & Paco Plaza, 2009


4/5

Balaguero and Plaza take you back to the same apartment building where the first film is set. A few SWAT team officers accompany a health minister into the building in an effort to find survivors. When they enter the building, they realize that they are not in the company of a health minister. He's a completely different type of minister, one who is very aware of what's inside the building and how to stop the infection from spreading.

[REC] 2 picks up immediately after the end of the first film, and does so seamlessly. The film immediately takes an interesting turn. It starts off as a Zombie found-footage film very much like the first, but soon morphs into this religious-possession-zombie hybrid. The viewer sees the film through the lenses of helmet cams and handhelds, and the unreliable cam-light guides the way through the narrow corridors of the building. The jittery shots add to the feeling of sudden panic. Shadow play, zombie babies, technical difficulties with the camera that lead to abrupt blackness create this spectrum of terror that easily rivals any horror classic. In fact, just the ceiling trembling from the pitter-patter of baby zombies crawling is enough to scare the hell out of anyone. The found footage element also puts you in the company of the officers as they reinforce the feeling of being trapped in this decaying apartment building. Balaguero and Plaza perform this camera trick a few times where there is a skipping to the video image, almost 3D like. The image freezes, skips a bit, all lined up with the audio track. It felt unique and only added to the tension already present in the scene. Of course sometimes its also what you DON'T see, and the filmmakers effectively let your imagination go to work on the unknown elements that are on the other side of the door, or lurking in the shadows. The film succeeds in its minimal story, effective pacing, and solid scares. [REC] 2 is an evolved, more multifarious version of the first film. But it never tries to separate or out-do itself from the first, and that's why it stays consistent.

Plot Hole? It's surprising how obedient the SWAT officers are to the minister. He continues to tell them they cannot leave the building until they complete the mission, but what is stopping them from just turning around and walking out? He doesn't appear to be in a position to reprimand them or threaten their careers. Besides, their careers would be the last thing they would be thinking about after enduring a night like this. I would imagine when they leave the building they would be job-hunting the next day.

The Horde

Yannick Dahan & Benjamin Rocher, 2009


3/5

          In this French Zombie film, a small group of cops decide to raid a condemned apartment building where a group of gangsters are holding one of their own hostage. When they get into the building, they have to battle more than just gangsters.
          Okay, so there are a number of factors that go into making a zombie film nowadays and a lot of those details have a big impact on how effective the film will be. It's unarguably an over-saturated genre and there are certainly more losers than winners. One, how fast do they move? In this? Fast. Very reminiscent to the fast-moving zombies in 28 Days Later. Actually, they closely resemble those zombies than any other film in the genre. Two, are they actually scary? Yes. Very. Three, do the living know what they are dealing with, and do they attempt to fight them off in a manner that's original? Absolutely. Actually quite originally. What is appealing in this is their absolute inability to actually take them down. They have no idea why the dead are suddenly rising and why bullets seem to do nothing against them. Are there twists in the plot that will set this film apart from EVERY other zombie film? Eh, not really but that's okay. The world falling apart around them, how realistic is it? Because it focuses on the events unfolding in the building itself, the explosion-filled skies and the distant booms become more of a backdrop.
          The Horde succeeds in the sense that it doesn't try to reinvent the wheel. It know's exactly what it is and doesn't try to be anything else. It focuses on the style and not so much on the substance. The story itself doesn't carry a lot of weight, nor does it really need to. Sure, it adds an interesting dynamic in the sense that the humans don't even like each other let alone whats on the other side of the door. But the tension between them seems to dissipate to a point where it's not so evident. The "OH SHIT" scenes where they find themselves cornered, while predictable, are still suspenseful and are well-crafted. The scene with Ouessem (Jean-Pierre Martins) standing on top of the car was beautifully orchestrated and well-shot. The film is very similar to The Raid Redemption except it's taking a converse trajectory. These people are trying to make their way DOWN the steps to the first level to get out of the building, not even focusing on what they are actually going to have to confront when they get out of the condemned building. One of the most thought-provoking concepts with the zombie genre are the constant moral dilemmas. There's also the common questions that go through your head while watching. You're likely going to gravitate to a specific character during the film. Is he/she going to make it to the end? And even if they do, what kind of world are they going to be living in? Do they even want to be living in it? Life seems awfully cheap when you see people around you falling rapidly and your very existence hinges on you simply not tripping over your own feet.

[REC]

Jaume Balaguero & Paco Plaza, 2007


4/5

          Television reporter Angela (Manuela Velasco) and her cameraman Pablo are filming an episode of their show While You Were Sleeping at a firehouse where they plan on tagging along to film some calls. After patiently waiting all night, they finally get a call at an apartment building. Unfortunately for them, its a call that quickly turns into a chaotic night for everyone involved.
          If Cloverfield & The Blair Witch Project had a zombie baby, it would be [REC]. This Spanish-subtitled film is certainly in the Zombie Found Footage category, and there isn't a lot of company there. If you're NOT a fan of Found Footage, you might as well pass on this one. It's contains all of the typical themes (night vision, shaky cam, quick cutting, lights out). But if you're a fan of the genre, you're going to be treated to all of those themes executed perfectly.
          The film starts off with Angela rehearsing the intro to their show. She begins to walk through the firehouse interviewing various firemen. This gives you a false sense of security because you know what's on the horizon. The film is guilty of hitting a bit of a slow patch in the beginning but when it finally takes off, you're in for a ride. These are probably the most terrifying zombies I've seen on film. They are reminiscent of the Rage-virus zombies in 28 Days Later but are more threatening and bloodthirsty. The tension is reinforced by the claustrophobic conditions of shooting the film with a handheld camera in a historic apartment building. The entire film is basically shot in either the hallway of the apartment building, or in the various apartments within. Dark entryways, white paint cracking from the blood soaked walls. There were some really innovative techniques used in this film and with it being made on a budget of just under $2M, the minimalist story-line and progressive tension didn't need gratuitous gore (although you'll get your fair share of blood). They apply the Blair Witch technique of compounding tension to a point of climax, but doesn't hesitate to bare its teeth along the way. A day later some of the shots are really sticking with me - aiming the camera down from an upper floor and seeing the zombies on lower floors looking up, Pablo placing the only camera on the floor to help subdue a zombie in the hallway & then picking it back up again, and of course the final scene in a penthouse apartment. When this film grows its legs it really takes off, and comes together in the end. The final scene had me on the edge of my seat.

The Walking Dead (Season 3)

Frank Darabont, 2013


4/5

Season 3 is a consistent continuation of the series. Predictable levels of gore, bleak camera filters, augmented audio effects, and slow pacing that at times feels sluggish. The living conditions are more turbulent compared to the comforts of everyone living at Herschel's Farm. All of this season is set at the Prison that they had discovered at the end of last season, but those living quarters are threatened by not only the outside survivors, but the walker's living within the prison walls. It's probably the most well-crafted season so far, but unfortunately with head show-runner Glen Mazzara now gone I have doubts about future seasons. Word is that Mazzara's shoes will be hard to fill, and that he was quite the presence on set.

I am convinced that because the pacing on The Walking Dead is so restrained, I don't believe the show is best viewed on a weekly basis. It may be best served in large sessions, where you watch 3 or 4 episodes at a time or the entire series at once (if you can). I may try doing this next year. I find its a series where its particularly difficult to judge each episode individually. If you're able to step back, look at the big picture and judge it based on character development, story-line & plot twists, and visual aesthetics, you can see how brilliant the series really is.

Pontypool

Bruce McDonald, 2008


3/5

          Grant Mazzy (Stephen McHattie) is a lifer alcohol-fueled disc-jockey who drags himself into a snow-covered dreary studio to do his night shift - expecting it to be a very typical broadcast. He soon realizes the impending blizzard has also brought something else with it, a mysterious virus that has an immediate sweeping effect on the small town of Pontypool. Soon enough it makes its way to the Studio where he is left with limited resources, company, and the facts on what is causing it. His two producers, Sydney Briar (Lisa Houle) and Laurel-Ann Drummond (Georgina Reilly) look to him for guidance, and he is left to rely on his experience and quick-wit.
          This film is rather refreshing given the already over-saturated pool of zombie films. It's a twist on the genre that I have not seen before, and was quite surprised and impressed when it revealed itself. I really liked the bleak colors used and the look of the aged studio with its paint-peeling walls and long neglected decor. McHattie and Houle really stood out in their roles. The filmmaker really played with audio which seems to be a less-traveled road where zombie film-makers tend to rely more on heavily stylized gore. There is a scene in the first act where Grant Mazzy pulls over on the side of the road after he drops his cell phone on the passenger-side floor. A woman who he believes is his daughter knocks on his door and he immediately realizes is a hallucination. As she disappears there is an ambient, repetitive voice that echoes for about 10 seconds or so. The subtlety of that moment haunted me and stuck with me more than any other single moment in the film. McDonald was able to hold onto that technique though, and it continued to play out through the rest of the film in slightly varied incarnations.
          You serve as Grant Mazzy's invisible companion over the course of the night. Grant Mazzy is lonesome yet approachable. He seems heart-torn but remains a curious intellectual. You later end up dealing with the same level of uncertainty as he is, where the frantic speculators make phone calls to the studio which ultimately turns into actual physical bodies OUTSIDE the studio doors. You need to feel comfortable with Grant Mazzy because he's all you got. And it's not so bad.

Top 5 Zombie Films Of All Time

5. Dead Snow
(Tommy Wirkola, 2009)

How can you not love a film about Nazi zombies?  Its a Norwegian film shot on a budget of $800K. The opening scene of the movie is shot in a car with a group of medical students on their way to a Ski weekend in a remote cabin. The mountainous winter landscape is beautiful in the beginning of the film and maintains that same scenic beauty throughout - contrasted by gory, blood drenched snow.

4.Shaun of the Dead
(Edgar Wright, 2008)

The best "Zomedy" film made to date. I can't imagine ANYONE other than Simon Pegg and Nick Frost as the leads. They are so perfect as the oblivious buddies who have no idea whats going on around them. Like 28 Days Later, the film is entirely based in London. Funny throughout the entire film.

3. Dawn of the Dead
(George Romero, 1978)

Its probably considered a more complete, entertaining film than Night of the Living Dead but definitely not as iconic. Either way, very entertaining. Sure, its campy - and the makeup on the zombies leaves something to be desired - but I found myself living vicariously through the main characters. I found the beginning of this film to be somewhat confusing and diluted, but it picks up soon after and maintains that momentum through the rest of the film. I think a lot of people have had that childish fantasy of being able to live in a mall, grocery store, etc. and having it to yourself. You see that acted out in this film, with the conflict being that you never know how safe you really are. You have to be aware of the slow moving zombies and the bandits trying to inhabit your location.

2. 28 Days Later
 (Danny Boyle, 2002)

I have probably seen this film close to ten times by now. Danny Boyle provided so much realism that it really gives you a sense of how things would be if a global pandemic hit and turned everyone into rage fueled zombies. Some people say that this film is not a zombie film because 1) the zombies run and 2) because its a "rage" virus that makes them violent but not necessarily flesh eaters. I discount both claims and say that it reinvents the existing zombie genre and takes a more realistic approach. I have NO problem with zombies running. Cillian Murphy is great in the lead. The sequel "28 Weeks Later" is also pretty good, although not directed by Boyle (Boyle produced the film though). Danny Boyle apparently has a preliminary plot laid out for a "28 Months Later" that I would love to materialize within the next few years.

1. Night of the Living Dead
(George Romero, 1968)

This is the film that started it all. While some may consider it too campy and outdated... it HAS to be on the top of the list.This is the film that created the zombie genre without actually ever mentioning the word "zombies". Made on a budget of $115,000, the film has now grossed $30,000,000 worldwide. Because the film was shot in B&W, it gave Romero the liberty to use Chocolate syrup for fake blood. It was originally supposed to be a horror comedy, and ultimately became a highly influential film with ambitious, societal statements.