Flesh-eating zombies may
never be likely to take over the world for real, but they have certainly
dominated the horror genre for some considerable time now, and the infection
shows no sign of easing up its widespread virulence as the plague continues its lethal
march across the landscape of international horror, consuming all that fall in its path as it rapidly jumps
host and moves from film to computer games, converts the world of graphic
novels and now moves on to its most recent acquisition, TV drama -- which takes the form of AMC’s hugely
popular The Walking Dead, which was based on Robert Kirkman’s popular comic
book series. This multi-platform dominance has been accomplished with apparent ease and equal success. One of the most heavily
susceptible species of media, especially prone to harbouring a particularly unshakable variant
of this most persistent of infections, has long been recognised to be the no-budget independent feature.
The living dead have planted themselves firmly in place and taken root
in that film backwater, as a permanent fixture that shows little indication of
being supplanted anytime soon: all any aspiring Fulci needs these days, after
all, is a camcorder, a little bluish grey face make-up and an "extra" or two
happy to moan incoherently and affect a shambling gait for the viewfinder (and if they have no
objection to chowing down on some raw butchers’ guts, all the better), and his/her film career is up
and running!
Of course, very few of these flicks -- the vast majority of which are customarily proven to be amateurish dreck of the first order -- are worth even the
effort it takes to insert the disc into a DVD drive, yet still they keep on coming
by the dozen, dominating the landscape through a persistence of numbers that eventually
makes them impossible to hold out against as they continue their mindless mission to fill DVD bargain
bins in never ending bulk supply.
The zombie sub-genre remains popular of course (which
partially accounts for this abundant harvest of flesh-eating variants) and it
still occasionally but regularly supplies interesting material; yet one can’t help
but be aware of the poverty of imagination which ultimately lies at the root of
the ubiquity of the phenomenon. Yet, if there’s one interesting thing to comes out
of a recent collection of zombie-based indies, released in the UK as a
double-disc set by Monster Pictures (distributed by Eureka Entertainment), then
it’s the set's inadvertent highlighting of the fact that the zombie sub-genre is actually capable
of sustaining an incredibly wide selection of divergent approaches, and there are a
spectrum of distinctions to be made, even within the indie movie bracket alone. Of course, the
term ‘indie’ also covers a multitude of budgets and standards of professionalism,
but rest assured -- everything included here meets a certain core level of
competence (in other words, there’s nothing included in this set that is a complete
insult to your eyes!), whether it be shot for tuppence on DV or aspires to widescreen
cinematic standards of presentation. Across two discs, we’re given over five
hours’ worth of zombie shorts from all over the world and in all sorts of styles,
incorporating comedy, romance, action, satire and even the odd existential
meditation. Although it’s an obvious PR line to take, there is indeed something here for everyone: if a
particular short doesn’t happen to do it for you, then there’s every chance that the next one along
will float your boat instead. The shooting standard ranges from grungy indie DV
amateur style to comparatively glossy-looking fare. And there’s even a puppet animation
zombie western here as well! The variety extends to running time, as we're given everything from brief five minute vignettes to hour-long mini features, with most entries averaging around fifteen minutes in length.
Dutch directing duo Barend de
Voogd and Rob van der Velden demonstrate versatility even with the simplicity
of their opener’s minimalist set-up: Zombeer (2008, Netherlands, 11 min) is an initially slick comedy short that highlights what
happens when a bibulous brewer at a high-tech distillery keels over and drowns
in a huge vat of his firm’s finest booze (‘beer with a bite’ is the company’s
apposite tag-line!). Not only is the dead man (Rogier Schippers) reanimated by
a secret mixture that’s being stirred-up in the bowels of the brewery, but
everyone who samples it (which includes a party of Japanese day trippers) instantly
becomes a flesh-craving revenant too. This quickie spans the gamut of the
zombie sub-genre’s stylistic traits: starting off as a fairly proficiently
filmed piece of work before moving into a (presumed) parody of [REC] by having most of the climactic
zombie action shot as found-footage, viewed from the POV of the shaky camcorder of one of the
fleeing visitors to the brewery.
Similarly, Zombies and Cigarettes (2009,
Spain, 17min), also directed by a
duo, Inaki San Roman & Rafa Martinez, takes the most familiar scenario
imaginable – a zombie outbreak in a Spanish shopping mall which leads to a small
group of survivors barricading themselves against the hordes – and uses it as something of
a director’s show reel: it’s extremely well-shot and sharply edited, and it has gathered a
raft of festival awards including some for best visual FX and best director.
One can see why its flashy slickness would attract such attentions ... it may be
the least original of any of the films included here, but it does at least attempt
something interesting and new with the bitter-sweet cynicism of its conclusion, and the brief running time is perfectly judged for preventing it from outstaying its welcome.
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Zombies and Cigarettes (2009) Spain |
Joseph Avery and Matt Simpson’s
Plague
(2008, UK, 17 min) heads for
more obviously satirical waters in a grungy tale about an illegal migrant and gun-runner who flees the troubles of his Latvian homeland and winds up in a London that’s
become overrun by the living dead. This sombre tale of urban isolation and
despair makes fitting use of the zombie metaphor to examine the alienation, loneliness
and persecution suffered by those forced to make a life for themselves in the jostling
metropolitan sprawl that is contemporary London by removing the "jostle" and the "sprawl" and
leaving only the apocalyptic decay of the aftermath of zombie plague. There’s
one affecting and atmospheric scene in the middle of this piece which occurs
when the narrator and protagonist investigates a derelict building, resulting
in one of the most well-executed scare scenes to grace any of the films in the
set.
Duncan Laing’s Bitten (2008, UK, 6 min)
is another downbeat effort with an intriguing and disturbing premise. Here we
join a young woman, played by Claire Wilson, in the middle of a zombie infestation and
after she has just been bitten and is awaiting her own imminent transformation
in the familiar surroundings of her home. Tense, ugly and grim, this is a fraught meditation on
the prospect of the loss of one’s own faculties -- a situation which, frankly, will face us all
in some form or other eventually. It combines gruelling body horror with a thought-provoking
contemplation of mortality, and is only let down by poor "pancake" zombie face make-up,
which rather breaks its spell. Another low budget effort, Arise (2010, USA, 18 min), attempts to excuse
its own shoddy splatter effects with recourse to a facetious line in silly humour. The
annoyingly cliched Death Metal soundtrack and the deliberately bad gore which accompanies
all the "action" throughout risks losing the goodwill of the viewer fairly quickly, but this
does actually have a thoughtful payoff about parental responsibility and maturity behind
a long line of suppurating zombie cadavers shuffling forth to be deprived of
limbs when the hero’s proficiency with his work tools finds another use after the living dead
invade his workshop. Not
Even Dead (2009, USA, 5 min)
examines the misguided urge to hang on to a loved one and hope that a cure can eventually be found for
the zombie infection: David (Joseph Will) keeps his zombified wife(Treva Tegtmeier) chained up in
the basement and illegally feeds her, convinced there is still some remnant of
the woman he used to know preserved inside the salivating creature’s brain.
This is a bleak little tale about the catastrophic repercussions of irrational,
undying love. Unfortunately, well-enough staged as it is, it just doesn’t go anywhere you don’t already expect it to go to.
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Bitten (2008) UK |
Randy Smith’s Fear
of the Living Dead (2009, USA, 16
mins) is a cheaply shot attempt to do action and mystery with a small cast
and a tiny budget and never really gets convincingly off the ground. April Campbell plays a young woman who believes she is the
last woman left on Earth thanks to her immunity to the zombie virus, which has
turned the rest of the world into flesh-craving ghouls. However, while raiding
suburban houses for supplies she finds she isn’t the only remaining human being
who's out and about after all. After becoming well-used to living in "survivalist" mode, this discovery becomes a difficult
circumstance to adjust to. But she may well now be in even more danger than ever before.
This is watchable enough as far as it goes, but it’s too slight and
cheap-looking to pass muster as anything else but a minor quickie. Kidz (2010, Canada, 9 mins), on the other hand,
is a delightful comic vignette in which a trio of child friends prove to be well-equipped
for the death of their parents during a zombie plague because of their well-honed proficiency at shoot-em-up video
games. Approaching the entire ordeal as just another game, they suit up as super-powered
comic heroes and set about protecting the neighbourhood from the encroaching
zombie hordes. Nicely acted by the young leads, this combines zom-com humour
with a gentle evocation of the nostalgic joys of childhood fantasy and play.
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Kidz (2010) Canada |
The Book of Zombie (2007, USA, 64
min) is, of course, the most substantial work here in terms of running time,
and thus it’s no surprise that this is the one which most successfully manages
to build up some degree of character interaction, which helps to create and hold on
to viewer interest. A troubled married couple (Brian Ibsen and Larisa Peters) attempt to
bond on Halloween night while their daughter is away having a sleepover with
friends, but the evening is already going far from well for their relationship when
the couple are suddenly assailed by zombie Mormons at their door who have taken
over the small sleepy Utah town in which they live. As they battle through the
streets to reach their daughter, they meet a couple of stoned and slightly
vacant slacker youths working late in a local store, and the group attempts to hole up in
a Medieval themed bar with a feisty waitress who’s got her zombie boss locked
up in the store room. The conceit behind this gory comedy is that only Mormons
are initially affected by the zombie infection, and they can only be stopped by
exposure to caffeine (Mormons won’t touch anything that contains it, apparently),
which is most readily available to our heroes in the form of soft drinks sold in the
store they find themselves barricaded in (one character meets his end when his
defensive can of Coke turns out to be of the decaffeinated variety!).
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The Book of Mormon (2007) USA |
Andrew
Loviska puts in a decent effort as the laconic, bespectacled slacker shop clerk
Darwin, and Ibsen and Peters make their initially annoying bickering couple (who
are gradually brought closer together over the urgent need to kick some serious
Mormon zombie butt) more and more likable as the film proceeds towards its
Evil Dead-style splatter-based finale. Not quite so likable in the comedy stakes is the British
effort from Sat Johal, Tony Jopia and John Payne: Zombie Harvest (2003, UK, 11 min) starts with someone tripping over while trying to
escape from a zombie revenant by running through a farm, and ending up with their head
stuck up a cow’s arse; things go pretty much downhill from there on. A few nice
shots near the end, of a ghostly army of the re-animated dead shuffling, like
rotted Fulci-esque cadavers, through a cornfield in the Oxfordshire countryside,
is small compensation for this facetiously narrated tale which is told from
the viewpoint of a soldier from a nearby American base, who’s on the turn after being
attacked by a scientist who's been experimenting on himself with a genetic virus that has had some unforeseen
consequences.
The Skin of Your Teeth (2009, USA, 14
mins) is more a vignette than a fully-fledged short, and ends up leaving the
viewer wanting more. But in terms of atmosphere and creepiness it’s by far the
most successful piece included in this collection and is actually my favourite.
Shot on a working farm in Western New Jersey by Dan Gingold -- a
director/producer/editor based in Brooklyn, New York -- the film expertly uses
landscape and space to create a mood of forboding which has a Cormic McCarthy-style sense of impending
doom about it. The dialogue is kept to an absolute minimum and the set-up is conveyed
visually, as we are introduced to a quartet of young survivors from a recent
zombie plague taking refuge in a derelict farmhouse on the brow of a
hill surrounded by a flat expanse of countryside. The group monitor emergency
radio broadcasts for news and keep watch for the approaching hordes from the
roof of the farm building using binoculars. The film vividly evokes a sense of
dread relying on the featureless landscape as a means of emphasising the fact that
there is nowhere to hide, and when the zombies eventually do come, the frantic battle
for survival is by far the most visceral and scary out of this bunch of films because of this acrophobic
feeling of the vastness of the countryside that the dead are seen to now dominate. Poor
zombie makeup may slightly let the side down, but the last few minutes are the
most terrifying out of any of the shorts here.
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The Skin of Your Teeth (2009) USA |
David M. Reynolds’ Zomblies
(2009, UK, 47 minutes) is the
other substantial work included in the set, with its TV episode-like run-time
enabling a proper storyline to unfold rather than just the sketching out of a
mood or the delivery of a set-piece. It’s steeped in the stylistic mannerisms
and tone of 28 Days Later and its ilk, with shaky camerawork and digitally
de-saturated colour tones ... but it sets up its dystopian world quite effectively
and sells the action set-pieces it’s been designed to convey with conviction. There’s
also quite an enveloping score accompanying this action and gore-drenched
apocalypse. This is basically a ‘guys on-a mission’ film in which an elite
squad of Rangers are sent out beyond the automatic-machine-gun topped wall, that
provides a protective perimeter for a high-tech military base with a control
room that looks like CTU from 24, in search of a rookie bunch of
zombie hunters who have gone missing after leaving a distress call. The macho
squad soon find themselves in trouble when it turns out that the zombie virus
is mutating and can infect people even if they’re only exposed to the blood of
one of the dead. There’s nothing wrong with this film other than the fact that
it’s just a straight-down-the-line, low budget version of a typical zombie
action film, with nothing new to offer. Performances are generally acceptable
but characters, as tends to be the case with such material, are simply "types" and
its hard to get more than casually engaged with the plight of the cookie cutter
squad of military men who find themselves cornered and cut-off in a wilderness
of marauding dead, as their superiors decide to cut their losses and bomb the
whole area with their men still in it.
If it’s originality rather
than straight-line thrills and action you’re after then look no further than
the next offering: It Came from the West (2007,
Denmark, 16 min) is an animated western created with hand puppets and
directed by a 27 year-old student of the National Film School of Denmark called
Tor Fruergaard. It tells the story of a freckle-faced, ginger-haired youngster
with an overbite, called Virgil. Bulled by his oafish father and the mean guys
who prop up the bar at his local saloon, who collectively dismiss him as
nothing but “a wannabe cowboy weak pisser”, this plug-eared hero finds himself
trapped between a rock and a hard place when the daily round of abuse he
suffers at the hands of his daddy and his boorish friends is interrupted by a
good ol’ zombie siege. A serial killer called the Dark Destroyer has been busy
chain-sawing the local redskin population to death, and the natives decide to
strike back by raising the dead in a sacred ceremony to take revenge on the white man. Before the bog-eyed-ugly
cast of totem-faced cowboys have realised what’s going on, the Saloon is
besieged by flesh-eating zombies freshly risen from a nearby graveyard and it’s up to Virgil to fend them off
as the other patrons meet a variety of gory deaths at their undead hands. This humorous
puppet adventure revels in outrageous cartoon gore, quirky characters and a
great score that mixes tribal drumming and some extra twangy tremolo guitar licks.
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It Came from the West (2007) Denmark |
Gregory Morinhas’ Paris
by Night of the Living Dead (2009,
France, 12 min) takes some stylish cinematography and cartoonish CGI
splatter effects and combines them with fluid camera movement and vertiginous
crane shots to make up this fast-moving action-fest, in which the dead take over
the streets of a series of Parisian tourist destinations and only a
handsome-looking, newly married young couple (Karina Testa and David Saracino)
are available to fend them off when their wedding vows are interrupted by the
zombie outbreak. This twelve minute piece is all about style, with the couple whipping
off their wedding clothes in a trice and producing huge pump-action hand guns
from nowhere (it’s always good to come prepared) before striking a series of
action poses while variously either machine gunning, decapitating or otherwise eviscerating
the staggering zombie crowds. The CGI is pretty low rent, but then that only
adds to the cartoony artifice of the action, and despite the superficiality of
it all, this manages a few tense moments and even a little poignancy at the end.
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Paris by Night of the Living Dead (2009) France |
Tarunabh Dutta’s Savages
(2011, India, 39 min) is
billed as one of India’s first independent zombie films and the imagery that
comes with its interesting mixture of semi-rural/jungle locations is certainly
different enough from anything seen in the other films included here to make
this fairly cheaply-made effort stand out, although the influence of The Evil
Dead and a few other classic Italian-made zombie films is always
apparent. Unfortunately, the enthusiasm of the participants in front of and
behind the camera is rather fatally undermined by the sheer amateurishness of
the cast performances. This mostly just looks like a bunch of mates having a
laugh with a video camera while they spend a weekend making their own zombie
picture. The story, in which a group of teenagers idly amble off into India's equivalent of the backwoods
on the outskirts of their village in order to give one of their number a special ‘treat’
by taking him on a camping trip to a contaminated area that’s been sealed off as a
biohazard for years, requires said characters to behave with more than the
usual quota of stupidity we expect to find distributed among the cast of zombie
fodder flicks like this. There’s a dishevelled-looking ‘wise man’ who at first tries to
warn them off and then, when that doesn’t work, resorts to martial arts skills
to get rid of them; but by then it's already too late and one of the group gets
infected with the zombie-inducing contaminate with predictably half-arsed
results.
The final film in this
collection, Dead Hungry (2009, UK, 10
min), is the surprise gem of the bunch and is probably best summed up by
its tag line: ‘life’s a bitch, and then you die. Then you’re a zombie, and
death’s a bitch too.’ The unfortunate
protagonist of this little adventure is a forlorn-looking and very hungry revenant
with a rumbling belly who’s in desperate need of fresh brains. Stumbling through
a forest clearing, dressed in baggy dungarees, our “hero” encounters a number
of classic clichéd zombie/horror movie situations but is too generally hopeless
at being a member of the walking dead to capitalise on them. Basically, he’s just
a little bit clueless when it comes to the business of eating people. Director William Bridges deals in a
wry, poignant humour that closely resembles the attitude of Shaun
of the Dead, but here it’s the
hapless zombie we feel for, and his point of view we take throughout this ten
minute film ... not that of the potential victims he’s attempting to make a meal of. When
the classic zombie siege situation develops after a bunch of American teenagers
attempt to take refuge in an old log cabin, it is the poor old hungry zombie outside
whose fortunes we’re actually following, as he continually gets crowded out by
the other more pushy zombies surrounding the trapped kids' hideout, who are also attempting to break in.
Eventually a quirky little ‘romantic’ relationship develops between "our" zombie and another
female zombie who's also taking part in the siege -- and the ironic bittersweet ending
takes the concept of funeral humour to extremes!
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Dead Hungry (2009) UK |
As a collection, the films included in
this Monsters Pictures release demonstrate the full range and the great versatility
the zombie film is still capable of; and although a few of the entries merely deliver
standard zombie flick fare, many others remind us how there is still more than
a spark of life left in the genre’s shambling cadaver, should the more inspired indie writers and
directors choose to search for it.
RELEASING COMPANY: Monster Pictures/AVAILABILITY: Out Now/GENRE: Zombie Horror/FORMAT:
DVD/REGION: 2 PAL/ASPECT RATIO: Various/DIRECTOR: Various/CAST: Various
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