Train to Busan - review

2016 (South Korea)

2017 Studio Canal Blu-ray R(B/2)

Contains mild spoilers. 

Hype always makes me nervous. It raises expectations and thus investment; and it raises the bar such that any wrong step can feel like betrayal. It also makes it harder to be impartial as the mob has already ruled, and laid a pejorative marker against any who might disagree. It makes it hard insomuch that one doesn't just want to be seen going along with the herd, and the herd are very much on the side of Director Yeon Sang-ho's Train to Busan. Edgar Wright of Shaun of the Dead called it the "best zombie movie I've seen in forever", and professional accolades and plaudits have been thrown by dozen. Well hands up; sometimes the herd can be right. I'll say upfront, Train to Busan, is arguably one of, if not the, best and most complete zombie film ever made.

Twenty or so minutes in I could feel it. There's a moment near the start of every great disaster movie, before the horror, action and actual catastrophe, where all the trepidation, anxiety, fear and excitement you know is soon to come is tantalisingly tangible. It's like being seated on a roller-coaster, slowly rising up towards the first hundred-mile-an-hour gut-wrenching plummet that you know is coming, yet can do nothing to stop. Seok-woo (Gong Yoo) and daughter Soo-An (Kim Su-an) have boarded the early train for Busan, some 453km away. Fleeting and fragmented phone calls and news flashes point to some greater and more expansive violence and confusion in the inner cities. And a lone very poorly woman stumbles quickly onto the train unbeknown to the guards and crew. It's as near a perfect application of the genre; the passengers embark and settle down for the long haul, and it's impossible not to lean forward with sweaty palms, heart racing and a grin from ear to ear. It's the zombie trope, but Sang-ho proves why tropes are tropes; if done properly they can be beautiful and timeless.

Then it begins. To say the ride is relentless would be putting it mildly. One becomes two, then three, four, and before anyone has any clue, the train is a claustrophobic maelstrom of screaming, running and blood. The following hour and forty is a barrage to the senses; perfectly paced, unremitting in its savagery and able to totally subsume the viewer so that there's a coming together to share each high and low as one. It's as finely crafted a zombie experience as I can recall. The train is the perfect vessel to constrain the tension and the roller-coaster is the perfect analogy. There's no escape, no  getting off; just helpless surrender to the ride ahead.

The few confused and desperate passengers that survived the initial onslaught are shaken and desperate, yet as a disaster movie and into the chaos, the experience is ultimately only as good as how they respond. An action horror spectacular it is, but Train to Busan is also an emotional narrative on good vs evil, of self-serving vs self-sacrifice. The zombies are at the end of the day quite neutral; they're automated killing machines driven entirely by instinct to spread the infection and never actually conscious and therefore responsible for their actions. To call them evil would be to call piranhas evil; they're nippy little shits yes, but they're just doing what they're designed to do. 

It's the passengers and the conscious decisions they choose to make in reaction that defines, in this instance, morality. This self-serving; looking after oneself at the expense of all others, versus, sacrificing oneself, or putting oneself in harm's way is the recurrent theme throughout the feature. It's deliberate that Seok-woo has a career that's perceived as selfish and his charge, Soo-An, is a small girl with a huge heart. It's also no coincidence one of his first decisions is whether to pull shut a door guaranteeing the safety of his daughter, or risk everything to let Sang-hwa (Ma Dong-seok), a working man who ultimately comes to be Seok-woo's moral gauge, and pregnant wife Seong-kyeong (Jung Yu-mi) through. His becomes a journey of discovery, of redemption, and the narrative an overarching exploration contrasting the best and worst of what it is to be human. 

Impersonation is the sincerest form of flattery and World War Z should be proud that Train to Busan has adopted their vision of the zombie and, other than their own origin stories, I could easily see each sitting comfortably in the others universe. Both share the upgraded 28 Days Later zombie for velocity and ferocity. Both share the rather demonic and inhuman veined appearance, and irregular and violently fitful movement model. And both imply the same viral contagion, where it's all about the infection wanting to spread with as much virulence as possible and not actually about anyone eating anyone else. Brad Pitt may have spent a purported $190m, but Sang-ho with his $10m easily keeps up, and watching each and every new vicious and rabid frenzy of anger and teeth scream to life, ready to join the hunt, is always exhilarating, and never gets old.

I don't recall a movie, never mind a niche zombie one, that so consistently got so much right. An action spectacular, a tense disaster drama, a human tragedy; it convinces on all fronts. Yet still at heart it's a fearless zombie film, unashamed to wear the crazy undead gnasher loud and proud, front and central. Yeon Sang-ho has given the tiring genre a more than welcome shot in the arm with a visual and audio feast that, as said, is just about as good as you're going to get. And yet for all these plaudits, it will be the friends you've made, and the friends you've lost, that you'll mostly recall when thinking about it. It is complete and masterful storytelling that excels in all areas and a privilege to watch, 10/10.

Steven@WTD.

Zombie Killers Elephant's Graveyard - review

2015 (USA)

2015 Platform Entertainment DVD R(2)

Contains mild spoilers. 

Let's talk apostrophes. We all get it wrong from time to time, especially when writing, and thought and creativity is more engaged, than say, any desire to satisfy the minutia. It's not Elephant's Graveyard; it's the whole romanticised idea that elephants would collectively travel to some mythical single location to gasp their final breath; there's more than one. It's a small thing I know, but this small lack of attention is quite indicative of director and co-writer Harrison Smith's low budget zombie effort. For as taken as I was with the refreshingly modern and airy look and feel, and enamoured with the highly emotive characters and their story, I couldn't quite shake off all the small niggles and warts that combined to spoil the party. 

So who are the zombie killers? Well, they refer to the rag tag assortment of young waifs and strays tasked with protecting the isolated and fenced town of Elwood. Led with ruthless utilitarian zeal, Elwood under the leadership of Doc (Brian Anthony Wilson), an ex-military medic, has survived the fervent zombie contamination that has taken hold of the planet. For six years, under the sub-command of Seiler (Billy Zane) these young adults have foraged, hunted and risked life and limb outside the safety of the compound to provide for the rather religious and insular group of lowlifes, who as we will discover, would be only too happy to thank them with a bullet to the back of the head should situation or occasion, like not keeping ones space tidy, demand.

For a world ravaged by a multi-species zombie contamination, where society has collapsed, resources are scant and general subsistence has regressed to something akin to the stone-age you'd think people would have better things to do than paint ball or spread malicious rumour because it goes against rather wonky religious ideals. Yet that's what Zombie Killers Elephant's Graveyard is primarily about. It's not a tense or shocking survival thriller but a highly emotive character driven soap-opera where the very real zombie threat plays second fiddle to odd politicking and strange, almost sociopathic adherence to a disjointed dictatorial ideology; and though, as I've stated, it was genuinely refreshing to engage with something with a different take on post-apocalyptic living, it just didn't come together.

I won't spoil the Elephants' Graveyard bit save to say for an ingenious twist on a well-known myth, it wasn't the worst idea I've seen, and certainly garnered some much needed zombie attention just when it needed it. It's a symbolically extreme and audacious idea and that's ok. Unfortunately it also marks the point the film starts to fall apart as if there's a sudden shift in narrative to one where anything goes, and coherence no longer matters. Rather than using it as a tool to pull the surrounding narrative together, this tsunami of madness acts as a catalyst for characters to acts out and the story to descend in to farce which was all a pity.

It's a parasitic, toxoplasmosis pandemic that's intimated to be of Proterozoic origin and has been thrown through time with fracking. In a candid and refreshingly glib post-zombie contemporary monologue which opens proceedings, we learn despite the best will of the uniting world, its swept mankind aside without mercy and this small band may well be all that's left. The some slow / some fast zombies are reasonably made up and realised, as would be expected in 2015 and though there's been an attempt to imbue them with fear, it all rather fails due to their rather comic spasmodic gait. As is now staple, it's the derivative bullet to the brain to stop them though as said, with their seemingly unlimited ammo and firepower it's not them one really needs to worry about. 

I can see what Smith was trying to do, and though the contemporary drama wasn't without charm the post-apocalyptic dystopia has fashioned characters that perhaps are just that too emotionally naïve and hyper-realised to feel plausible or congruous. There's an over simplification; a soap-opera immaturity and though Zane leads a cast who do adequately with what they have, all too often their characters behaviour comes across too extreme; either passive or otherwise, to believably carry the story they're central too. Sure I can understand someone contracting the virus, which Doc confirms with a blood sample, being evicted, and sure I can believe some bastardised reasoning, broken norms and twisted values and even eviction for seemingly minor indiscretions, but ruthless lieutenants more than happy to equate said eviction with totally detached murder is all a bit much. It's also all rather hampered by a convoluted soap-story which staggers in a rather derivative manner for an hour, only to spiral rather absurdly, in a way I'd more associate with The Asylum, to an unexpected, hectic and chin scratching finale, that again, doesn't do anyone any justice. So, certainly interesting, entertaining and reasonably well shot, this low budget zombie TV look and feel melodrama isn't nearly as bad as reviews would lead you to believe, but also doesn't particular deliver the cohesive, authentic post-apocalyptic character driven experience early signs hint of - 5/10.

Steven@WTD.

Scouts Guide to the Zombie Apocalypse - review

2015 (USA)

2016 Paramount Home Entertainment Blu-ray R(B/2)

Contains mild spoilers.

With Scouts Guide to the Zombie Apocalypse, co-writer and director Christopher B. Landon has fashioned a zom-rom-com that not only ticks all the boxes, but is fresh enough to stand out in what has, if we're honest, become quite the overcrowded and tired field. It's fresh, lively and struts it's stuff with a competent swagger; and it's well balanced providing just the right amounts of laughs, jumps and squeals of disgust, and at the right times. It's film to sit back and enjoy; for popcorn and beer; a low-brow throwaway indulgence and, hey why not? So what more to add? Not a lot if I'm honest, other than it's actually very good, and I could probably end the review here. I mean c'mon, it's a zombie rom-com with all that that trope comes with, and if you're honest you already really know, not just what to expect but whether you'll want to watch it. Ok, just in case you do want more, and also so as not to break my review format I'll continue.

Secretive Biotech companies, nefarious experimentation and highly avoidable incompetence is always a good old way to start an apocalypse. Here, there's Biotine Corp., a janitor, a zombie, NO safeguards and a few goofy visual jokes; and if I'm honest not the best of intros, but it's brief and to the point. It also establishes the template to come and that blood and puerile jokes will be flowing both in quantity, and equal measure. And whilst this is true and much hilarity is to ensue it should also be taken more of as a short discrete throwaway addition, as there's actually a full, well conceived narrative once the intro has rolled, of friendship, of growing up, of getting laid.

Ben (Tye Sheridan) and Carter (Logan Miller) are two boys on the precipice of adulthood with all the conflict that brings. There's friends, family, and expectation and doing the 'right' thing represented here, by the boy scout movement and their responsibility to the third member of the gang, Augie (Tye Sheridan), and then there's all the angst and wanting to throw away the badges, to party, and rebel. The film is in part that heart-warming journey through the labyrinth; a moral lesson that perhaps there's a way forward that doesn't mean you have give up all of where you are, of have been.

It's also a very daft and dirty zombie splatter fest. and any moralising can stop there; as Landon is certainly no boy-scout, but quite the puerile and juvenile director, with a penchant for some quite tasteless and risque set ups and humour. Which I should add, he gets away with. In Scouts Guide, the uniform and badges, their ever desperate scout leader Rogers (David Koechner) epitomise all that is socially awkward, dorky and uncool. It's a parody sure, and an easy one to exaggerate, but it's played to perfection bringing together all aspects of the narrative, the humour and characters. It's played so well one actually regresses back in time, you feel their distress and unease and this allows the boobs and objectification stuff to pass over; as you're in with the joke; in the young lads heads when shirt pops open and the shorts are tight.

As with all zombie comedies there's a trick to play the main characters pretty straight and to get the humour and energy from the surreal, daft, and when done well, imaginative and well-conceived, coherent situations that surround them. All three leads, though relatively unknown, throw themselves at each increasingly preposterous situation and solution with zeal, and their on screen chemistry is believable and at times endearing because of it. Sure, some scenes and sequences could be accused of being overly simple or derivative; but such is the vibrancy and youthful energy, both in script and production, they end up feeling alive and fresh.

Despite the work that was purported to have been done, choreographing the zombies, for uniform movement and behaviour I personally found it a bit of mixed bag; though I didn't actually find it detracted. It's some kind of transferable virus that can also rather terrifyingly jump species, in this case we have a zombie deer and cat. It kills, reanimates and as per the template turns those infected into monstrous flesh eaters. They seem to neither shuffle or run; it's more a canter, but up close the zombies are quite the fast moving, fast acting, violent little buggers and pretty dangerous. They're actually utilised pretty well throughout, both as vehicles to drive to story and tension, and also as figures of fun with some quite brilliantly daft, if incoherent from a critical point of view, set pieces too.

Right, what to add? Not a lot if I'm honest. Gore? There's plenty of it and surprisingly gratuitous and excessive at times. Romance? It's more coming of age story, but there's a quite the cute teen romance nerd-gets-cute girl subplot that that I actually managed to stomach. Comedy? It's a riot. A rare light in a rather crowded genre, Scouts Guide to the Zombie Apocalypse is a well-crafted, fun-packed utterly brilliant zom-rom-com that I challenge anyone not to enjoy; even if it is, and maybe unavoidably so, at times just a bit by the numbers, 7/10.

Steven@WTD.