Tag Archives: Zombie

CAPSULE: PARVULOS (2024)

Párvulos: Hijos del Apocalipsis; AKA Párvulos: Children of the Apocalypse

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Parvulos is currently available for purchase or rental on video-on-demand.

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DIRECTED BY: Isaac Ezban

FEATURING: Carla Adell, Mateo Ortega Carsillas, Leonardo Cervantes

PLOT: Three brothers struggle to survive in a post-apocalyptic world while caring for two zombies caged in their basement.

Still from Parvulos (2024)

COMMENTS: A tale about family in times of extreme change. Isaac Izban, the Mexican auteur of films like the mind-bending and space-bending Incident (2014) or the deeply-layered Similars (2015), known for its political undertones, returns with a slightly more conventional, yet still eccentric combination of family drama and zombie apocalypse. But let’s take things from the start.

We follow three brothers—two kids and their older teen brother—struggling to survive in a world where the rules have changed dramatically. Everything seems typical to post-apocalypse fans, at first. A pandemic has decimated the population, while a not-fully-tested vaccine had serious side effects, creating hordes of zombies. Parallels with the recent Covid pandemic haunt the story, but there is no explicit analogy, just a new take on common tropes of the genre.

The twist brings something new to the table. In their basement the boys are hiding two zombies, scavenging and collecting food for them. Who could they be? When the youngest brother Benjamin discovers they are his parents, the boys begin an effort to tame the dead and remind them who they are.

The film could develop as a parable on toxic family dynamics, with the parents being wild zombies, but it doesn’t want to go there. It remains, even at its grossest moments, a wholesome combination of family drama and post-apocalyptic themes, targeted at a teen audience of the main protagonist’s age. There’s nothing wrong with this approach, but it’s not as deeply layered or rich in allegory as Ezban’s earlier works.

Parvulos is formally inventive. The faded color palette, resembling black-and-white photography, gives an eerie and melancholic tone. Wide shots along with distorted audio underline some of the tensest moments. There soundtrack is rich: composers Edy Lan and Camilla Uboldi, close collaborators of director, creates a wide range of tones, from ominous orchestral music to uplifting beats with lyrics in English.

The story continues through a series of encounters of the boys with other survivors. A picture of the new state of the world gradually emerges, with deadly cults roaming around (another common trope of apocalyptic fiction). But the tale remains fresh by keeping the family dynamic between the kids and their zombie parents at its heart. It is an intriguing premise, and there are even some WTF moments here, as when the zombies have sex or, chained to their seats, attend a festive Christmas dinner.

WHAT THE CRITICS SAY:

“…an ambitious, eccentric, ultimately memorable tale of juvenile brothers’ survival after civilization’s death by plague.”–Dennis Harvey, Variety (festival screening) 

CAPSULE: THE DEMON’S ROOK (2013)

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DIRECTED BY: James Sizemore

FEATURING: James Sizemore, Ashleigh Jo Sizemore, John Chatham, Josh Gould

PLOT: After disappearing into the Earth as a young boy, Roscoe returns from the Dark Womb years later to thwart a demonic invasion.

Still from The Demon's Rook (2013)

COMMENTS: Well, that was ridiculous.

Mind you, it is a glorious piece of ridiculousness—and a testament to the can-do attitude of filmmaker James Sizemore and his pals. The Demon’s Rook looks like a professional piece from a career special-effects artisan, though apparently all the costumes, violence, and prosthetics were whipped up by Sizemore after he watched some YouTube tutorials. The whole thing exhibits extreme enthusiasm, as supernatural set-pieces unspool (typically toward a gristly climax) while Roscoe and Eva do their darnedest to dodge death as a trio of dastardly demons reign havoc upon a rural corner of Georgia.

The story functions almost exclusively as a framework for the atmosphere and artistry (beyond the top-notch bloodwork, there’s a ubiquitous moody synth score whipped up—you guessed it—by Sizemore’s pals). The filmmakers provide just enough personality, pathos, and peril to give the viewer an emotional “in,” and a more enterprising reviewer might consider the symbolic ramifications of the title: in chess, the rook is a powerhouse enforcer, though one typically fated for doom.

I am not that enterprising. I am, however, someone who’s seen enough micro-budget DIY outings to recommend this movie to anyone who’s remotely hooked by the gory trailer, or has a yen for ’70s and ’80s splatter features—particularly if they like them spiked with mysticism. The Demon’s Rook is a joyous celebration of classic splatter, and proof positive that anyone with enough gumption (and tolerance for YouTube tutorials) can make an entertaining violence picture.

WHAT THE CRITICS SAY:

“Like a midnight movie from the 80s, its focus is on showing as much blood as possible, while acting, plotting and coherence all deliberately take a backseat… the nostalgic bunch of you out there, who remember staying up to watch cheap horror flicks on VHS or late-night cable, will probably find themselves entertained by THE DEMON’S ROOK’s cheesy, ridiculous charm.” — Eric Walkuski, JoBlo (contemporaneous)

IT CAME FROM THE READER-SUGGESTED QUEUE: GORY GORY HALLELUJAH (2003)

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DIRECTED BY: Sue Corcoran

FEATURING: Angie Louise, Tim Gouran, Jeff Gilbert, Todd Licea, Joseph Franklin

PLOT: Four aspiring actors on their way to New York run afoul of increasingly dangerous obstacles, including a group of rowdy Elvis impersonators, a backwards fundamentalist hick town, and a zombie apocalypse.

COMMENTS: Satire, the playwright and Algonquin wit George S. Kaufman opined, is what closes on Saturday night. Nevertheless, aspiring filmmakers frequently turn to satire as a means to walk the line between mass-appeal populism (near-parodistic references to familiar material) and fringe-appeal provocation (harsh critique of sociopolitical foes). All of which is to say, Gory Gory Hallelujah has the aspirational sweat of satire all over it. Unfortunately, Kaufman seems to have its number; Gory Gory bleeds out quickly.

Gory Gory has so many targets for its smug disdain that it plays like a sketch film. The opening salvo takes on the insular and pretentious world of theater, which is admittedly made even more amusing with the reveal that this delusional production of the Gospel is being staged in the theatrical mecca of Seattle. But that’s all forgotten once we set off on a road trip, a genre that revels in wacky mismatched personalities. From there, the targets are set up like the shooting gallery at a fair: here’s the crazy fight with a gang in a bar, here’s the hypocritically moralistic small town, here’s the evil lurking in the woods. The scenes are mileposts, rather than logical stops along the way.

This is a film that is not the slightest bit interested in nuance. Consider our central quartet of heroes, who check an impressive collection of boxes for character stereotypes: militant black man who nonetheless endures countless indignities; self-proclaimed feminist whose sexual and materialistic impulses frequently overrule the cause; nebbishy Jew who finds every opportunity to remind you of his faith; blissed-out hippie flower child whom the film wants to position as closeted, but who is actually ravenously omnisexual. That’s all there is to them; barely 24 hours after having watched the film, I’ve completely forgotten their names, and that’s just fine. They’re not characters; they’re trope delivery systems.

Title notwithstanding, Gory Gory Hallelujah isn’t really a horror film. The screwed-up small town feels like a low-rent retread of Nothing But Trouble, the witches’ coven is just an excuse to take a jab at man-hating lesbians, and the undead are lumbering actors with Green Goddess dressing smeared on their faces. I suspect if you asked director Corcoran and screenwriter Louise, they’d tell you they were making a comedy, a -esque everyone-is-awful romp that lets them flirt with edginess without having to catch any flack. Every once in a while, the film threatens to go somewhere truly daring, like the smarmy land baron’s reference to some “accidental lynchings” that hints at a truly vengeful motivation for the zombie uprising. Most of the time, though, the targets are only the most obvious, offering variations on the theme, “Aren’t these people just awful?” They are. It’s not a revelation.

The closest the film gets to a point-of-view comes in the admittedly unexpected finale, when the death of absolutely everyone presages a revival-hymn closing number that suggests we’ll all be equal in the great beyond. Whereas before everyone was greedily nasty to each other, now they’re all dancing arm-in-arm, united in brotherhood after they’ve cast off the pesky need to breathe. It would make for a solid mission statement if there’d been even a hint of it prior to the closing minutes of the film. As it stands, it’s just one more radical shift in tone for a movie that has already lurched awkwardly from one setpiece to the next. Gory Gory Hallelujah has a lot to be angry about, but just doesn’t have the heart for it. Maybe in the next life.

WHAT THE CRITICS SAY:

“Tripping over the line between silly and stupid, camp comedy “Gory Gory Hallelujah” — the title is the best part — emerges more sub-Troma than subversive…aims for bad-taste hipster satire in the John Waters vein. But co-creator/editor/thesps Sue Corcoran and Angie Louise should have left at least one job — screenwriting — to a third party.” Dennis Harvey, Variety (contemporaneous)

(This movie was nominated for review by Christopher Fox. Suggest a weird movie of your own here.)         

APOCRYPHA CANDIDATE: RUMOURS (2024)

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DIRECTED BY: , , Galen Johnson

FEATURING: , , Denis Ménochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira,

PLOT: G7 leaders gather at a conference to write a statement on an unspecified crisis; everyone else suddenly disappears, leaving the leaders stranded in the woods with masturbating zombie bog-men and a giant brain.

Still from Rumours (2024)

WHY IT MIGHT JOIN THE APOCRYPHA: Ever since seeing the pre-release still of the giant brain in the forest with ivy growing on it, we knew Rumours was going to be weird. While the cast and budget may be bigger than usual, Guy Maddin proves he is no sellout, and the rumo(u)rs are all true: the movie does not disappoint in the oddness department.

COMMENTS: Seeing a Guy Maddin (well, a Maddin and the Johnsons) movie with known actors in an actual AMC theater is, in itself, a surreal experience. The fact that I was not the only one there was even stranger. Although it would be nice for other local Maddin fans to get a chance to come out and catch Rumours on a big screen—there must be at least one or two others in a metro area of one million souls—I was halfway hoping that the five other patrons had wandered in unsuspecting, lured by Cate Blanchett’s name on the marquee, and, like hapless G7 leaders, were about to be blindsided by a strangeness they could never have foreseen.

To be fair, it takes a while for it to sink in that this is a Maddin movie. There’s no homage to a particular cinematic era—the movie instead is a stylistic melange of soft focus, lavender lighting, and melodramatic musical cues, shot in academy ratio—and the broad political satire is far away from Maddin’s typical Freudian introspection. Perhaps this shows the influence of screenwriter and co-director Evan Johnson and third co-director Galen Johnson steering Maddin away from his usual fallbacks. But soon enough the absurd sense of humor reminds us that we are, indeed, watching a Maddin film. (My favorite joke may be when the French Prime Minister explains that the giant brain in the forest must be a woman’s, because it is “slightly smaller than a man’s giant brain.”)

Satirically, the movie is obvious rather than incisive, earning its laughs from its absurdities, not its relevancies. The G7 leaders have assembled to address a crisis they never get around to defining, instead meeting in small groups to draft statements that are made up of half boilerplate, half non-sequitur (items like the display of non-sexual physical affection within marriage make it into the statement, along with nonsense the American president mutters while talking in his sleep). The characterizations of the ineffectual statesmen and women are, to say the least, unflattering: the Italian Prime Minister does little but offer his companions lunch meat. In a ironic nation-deprecating joke, the most dynamic of the seven is the Canadian: he’s a horndog in a man-bun with a weakness for strong women, who has, or will, sleep with the entire female cast. But don’t do as the French Prime Minister explicitly suggests and look for symbolism in the leaders’ characters. Instead, embrace the UK’s atypical astute response when P.M. Broulez asks, “what does it mean that Canada is faster than Germany?” “Nothing!” It’s not specific shots at the political order, but the dreamlike elements of the masturbating bog-men, the giant forest cerebrum, and the treacherous A.I. chatbot that hit hardest in Rumours. We don’t know what has caused the apocalypse, or even if it is an apocalypse; all we know is that the world’s leaders are spectacularly unequipped to save us all from whatever weirdness is slouching towards the summit.

The relatively big exposure of Rumours made me slightly afraid that Maddin might have gone (slightly) mainstream.  My fears were assuaged when the credits rolled and the five other people in the theater all started loudly complaining to each other: “That made no sense at all!” “That was terrible!” “I wanted to leave but I just thought it had to get better!” “Who did Cate Blanchett owe money to?” They may have hated it, but odds are they would think about what they had seen later, and would never entirely forget the bizarre experience. It’s a response that I like to think would have had Maddin and the Johnsons chuckling. It certainly had me chuckling.

WHAT THE CRITICS SAY:

“Sporadically ingenious, occasionally chilling and entirely bonkers… Maddin… responds to the call of the weird with a refreshing lack of pomposity.”–Jeannette Catsoulis, The New York Times (contemporaneous)

CAPSULE: ENTER THE DRAG DRAGON (2023)

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DIRECTED BY:

FEATURING: Beatrice Beres, Sam Kellerman, Jade London, Samnang Tep, Mark MacDonald, Phil Caracas, Natalia Moreno

PLOT: A kung fu proficient drag-queen detective investigates a missing dog, which leads to a hidden treasure, an Aztec mummy, and zombies.

Still from enter the drag dragon (2023)

COMMENTS: In a movie so silly that the lead is played consecutively by three different actors—Crunch gets a drag makeover and a whole new look each time she awakens in the hospital after a trauma—it’s hard for even the anti-wokest viewer to take offense. (The film’s disclaimer that it was shot on land stolen from the Algonquin and Kanein’keha:ka Nations may raise some colonist ire, though).

Detective Crunch and roller-skating delivery girl/hot cis chick Jaws live in an abandoned (and haunted) movie theater owned by Fast Buck, where they screen old kung fu flicks 24/7 for training purposes. They are opposed by F.I.S.T. (Fearsome International Spies and Thieves), a cabal of ersatz Bond henchmen led by Gorch. There’s also an ancient Aztec mummy to deal with. The story may traffic in occasional immorality, but not amorality; it’s irreverent, but too goofy and harmless to be offensive, and it’s surprisingly chaste when it comes to sex. The heroes are loyal and determined, and the villains all reap the rewards of their infamy. Take off the drag, lose the dildo wipes, and tone down the gore and nudity, and it’s a wholesome adventure the Hays Office would gladly pass. (Instead, the poster informs us, it was “rated X by an all straight jury.”)

This is, if you haven’t guessed yet, an extremely silly movie. There’s lots of Z-movie gore—the kind where zombies pretend to yank intestines out of their victim as the actor plays dead, or people get telescopes slammed through their eye sockets. There are a handful of cheesy kung fu battles, which actually look like the choreography has been slowed down rather than sped up. There are minor cult cameos from ,  and from pal . We also get musical numbers, poison bosoms, laser hula hoops, a character named Dick Toes, and lots and lots of deliberately lame jokes, many involving dildos or kicks to the nuts. The location manager found some really keen outdoor locations to exploit, with mossy cliffs, waterfalls, and shallow caves, and our heroes even get a skydiving scene (in drag, of course). No one in the large cast can really act, or shows much interest in trying to. In other words, Lee Demarbre (best known for 2001’s similarly campy and transgressive-adjacent Jesus Christ, Vampire Hunter) throws everything he can think of at the screen without breaking the bank, having a blast in the process. The results are in the vein, but with less mean-spiritedness or jagged satire. It’s woke trash, to be sure, though perhaps not as woke as it pretends to be. Drag Dragon does fully deliver the trash, however, just like a drag queen delivers a nunchuck dildo upside a bad guy’s head.

WHAT THE CRITICS SAY:

“…high camp where comparisons to the work of John Waters are apt, especially when logic is dropped for gags and the performances have an awkward stiltedness to them.”–Addison Wylie, Wylie Writes (contemporaneous)