Playing With Zombies in ‘One Cut of the Dead’

The past decade has seen an absolute boom in the zombie genre. Blood, guts, a message of “humanity is the real monster,” you know the drill. The genre has, frankly, been exhausted and finding a decent film about the undead is difficult. It seems that perhaps the time of the zombie has passed. But, Shinichirou Ueda’s One Cut of the Dead says otherwise. While it is not the typical zombie movie, this film questions and makes fun of popular zombie tropes and finally made me excited about the subgenre again. It starts as one seemingly-mediocre thing and then becomes something else entirely.

One Cut of the Dead opens in the well-known found footage style. A crew is making a zombie movie in a secluded location, then all hell breaks loose. Each member of the crew falls into a well-known figure of the zombie film: the screaming girl, the attempting-to-be-masculine boy, the wise, older character who seems to know exactly why everything is going wrong. The found footage style and stereotypical characters look like any other zombie film, especially George A. Romero’s Diary of the Dead. However, after an exceptional 37-minute long take, this film completely flips tone, style, story, everything.

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‘Overlord’ Is the Kind of Over-The-Top, Bloody Escapism That We Deserve

In the first year of my mom and dad’s marriage, my mom remembers coming home late to see my dad sprawled on the couch, exhausted, watching Die Hard (1988). When she asked him what had made him decide to watch this particular film so late in the night on a weekday, he replied, “I’ve had a stressful day. I just needed to watch people blow up.” Although not nearly as charismatic or witty as John McTiernan’s modern classic, my father’s exhausted confession perfectly sums up my feelings about Julius Avery’s Overlord (2018).

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