Tag Archives: zombie

The Dead Don’t Die

14 Jun

‘The Dead Don’t Die’: Jarmusch wins with cast but loses a battle of wits against zombie genre

 

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After the subtly dark vampire satire “Only Lovers Left Alive” (2013), the prospect of witty, deadpan filmmaker Jim Jarmusch taking a shot at the zombie apocalypse seemed as plump and juicy as a pinned motorist under a flipped car struggling to get free before a lumbering herd of ravenous undead arrives. Truth be told, Jarmusch’s droll, genre-deconstructing zom-edy could have used a bit more meat on its hollow bones. As is, it reanimates plenty from George Romero’s canon of shambling-undead work, starting with the small-town setting of his seminal 1968 classic “Night of the Living Dead,” a rural Pennsylvania podunk an hour or so from Pittsburgh. To give “The Dead Don’t Die” a bit of a nod-and-wink edge, Jarmusch also kicks down the fourth wall from time to time – mostly to humorous effect, but not always.

The major wins here come in a wide-ranging cast that includes Iggy Pop, Carol Kane, Danny Glover and Steve Buscemi in small, bloody bits: Pop as a punked-out zombie and Buscemi as a cantankerous Trump-esque supporter wearing a “Make America White Again” red hat snarling about invaders trespassing on his farm as he blasts apart undead heads with a shotgun.

The world-ending mayhem centers more around a should-have-been-retired gent by the name of Cliff Robertson (Bill Murray – I’m guessing the movie actor reference is intended), the sheriff of Centerville (pop. less than 800 at the start of the film, maybe more at the end if you add in the reanimated) and his deputies Ronnie (Adam Driver) and Mindy (Chloe Sevigny). Even before the first innards are strewn about Centerville’s only diner Ronnie keeps remarking that the culprit is zombies, with the added refrain that “It’s not going to end well.” When pressed on how he’s so certain, Ronnie replies casually that he’s read the script. Yup, it’s that kind of flick. You may balk or embrace it. No matter. This is a Jarmusch film, and the dialogue is chewy and rich even in the gut-masticating jaws of death.

Why the dead get up and begin to munch on the living has something to do with polar fracking tossing the earth off its axis and a “fake news” coverup by big energy and complacent cable news stations – imagine that? As the hordes of decaying beloved erupt from their subterranean nests in a threat far more titillating than the reality, the film begins to stumble and list like one of its ghouls. Thankfully Tilda Swinton whooshes in as a newly transplanted mortician with a weird way of speaking (Scottish and proper) and means of making exact 90-degree angles when walking. She’s also in the elite class of Uma Thurman’s bride from the “Kill Bill” movies and Michonne from “The Walking Dead” when it comes to slicing and dicing with a samurai sword. Her elven embalmer has plenty of fun beheading the undead (there’s no gore, just black, dusty wisps), as do we with her, and then in the flash of her blade or an otherworldly light she’s taken from us, and the film’s soul is too.

Amid the disjointed olio there’s some nifty, witty play about kids of color in a detention facility getting the last laugh and the film’s titular theme song by a Johnny Cash-sounding Sturgill Simpson working its way into the plot, not to mention zombies clinging to old habits such as Wi-Fi, coffee and smartphones – though Jarmusch overuses the commercialism message from Romero’s “Dawn of the Dead” as he runs out of ideas on where to go. Then things jump the headstone, mostly in the uninspired denouement, and there’s the scene when Ronnie drinks in the vision of a comely hipster from out of town (Selena Gomez) and remarks to Cliff that he knows she’s part Mexican because he has an affinity for Mexicans.It’s so random and, given politics these days, odd – it has no obvious payoff.

Shamble on, you silly ghouls.

Overlord

10 Nov

‘Overlord’: Remember, Greatest Generation also had Nazi zombies to deal with in WWII

 

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You can think of “Overlord” as “The Dirty Dozen” by way of “28 Days Later” – that’s right, the WWII zombie apocalypse. The film starts with an imaginative bang and keeps its nose above the average even while dipping into genre tropes.

We catch up with a platoon of lads soaring above the D-Day armada heading for Omaha Beach. Their mission: Drop behind enemy lines and take out a radio tower in a medieval church or the U.S. air cover will get picked apart and the assault will fail. There’s a lot on the line. I’m not sure why there’s a few dozen planes on this mission, because stealth would make more sense, but it makes for the film’s best scene as German forces light up the approaching aircraft. The choreography, both in CGI manipulation and the goings-on with the boys inside as large-caliber bullets rip through the fuselage, amazes; cut frenetically with deafening ambient sound, it feels ripped right out of “Dunkirk.” Few make it to the ground alive (you could call it “The Dirty Half-Dozen”). After a few skirmishes with Nazi forces, the lads Boyce (Jovan Adepo); the squinty, badass explosives expert Ford (Wyatt Russell); wisecracking New York tough guy (think Joe Pesci) Tibbet (John Magaro); and a couple of other Star Trek red shirts get into the small village with the help of a comely village girl (Mathilde Ollivier). She takes them in, but what’s up with auntie’s reptilian rasping from behind closed doors?

Boyce ultimately makes it into a church basement, which is pretty much Mengele’s little shop of horrors if he was trying to engineer a zombie army of grotesque berserkers. The whole thing feels like a game of “Wolfenstein” gone 3D, but more grim. It’s here too that the film starts to sag, though there is tension added by the fact Boyce is black – no way to blend in among white supremacists (though otherwise, pretty much nothing is made of race). “Overlord” is largely Adepo’s film, and he carries it well, with both wide-eyed terror and heroic resolve. Magaro and Ollivier are also quite good in their limited stints, but Russell, filling a role akin to his father Kurt’s badass John Carpenter roles in “The Thing” and “Escape from New York,” doesn’t quite seal the deal. The part begs for more swagger. It works, but just barely, and is something of a missed opportunity for all.

The film, directed by Julius Avery, is a product of J.J. Abrams’s Bad Robot company, though Abrams has stipulated adamantly that it’s not a “Cloverfield” film. The connection between those entries is arcane at best anyhow, and something of a distraction. In construct, “Overlord” is more ambitious than those films, and its production values noticeably higher; but, then again, it’s about the fate of the democratic world hanging on the resolve of a bag of mixed nuts caught up in zombie-land.

World War Z

24 Jun

‘World War Z’: Flesh-rippers come at you fast, and so does this globe-racing flick

By Tom Meek
June 22, 2013

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Zombie apocalypse and anything vampire seems to be the hot ticket out of Hollywood these days. The subtext that we prey on each other and that life is a precious and fragile thing is a piquant notion that gets magnified to its fullest when examining how man comports himself as civilization crumbles.

062213 World War ZSans rules and with limited resources, what would you do? Snatch and grab, help out or hole up doomsday-prepper style?

That’s the special sauce that makes any apocalypse-cum-horror flick grip the road. Real people, supernatural horror, deep shit. George Romero’s seminal “Night of the Living Dead” was more about the dynamics and dissent among a band of survivors barricaded in a farmhouse than it was about the throng of shambling flesh scratching at the walls. Decades later, guys such as Danny Boyle (“28 Days Later”) and Zack Snyder (the 2004 remake of Romero’s “Dawn of the Dead”) got the nifty idea to make the dead move at warp speed.  Continue reading