We Bury the Dead review – Daisy Ridley tackles the undead in solid zombie twist
Star Wars alum gives an impressively modest performance in this slightly smarter-than-average survival tale Unlike some other less resilient horror subgenres, the zombie movie is, fittingly, never going to really die. Neither will film-makers attempting to add their own twist, understandable given how repetitive the die, wake up, lumber, bite and repeat formula has become. Australian director Zak Hilditch’s attempt, the rather buried We Bury the Dead, is therefore not quite as striking as it might have seemed a decade and change ago. Using words such as “contemplative” and “mournful” to describe a film that includes its fair share of gnarly head-smashing has become something of a cliche, so much so that last month’s meta-comedy Anaconda reboot had its characters joke that these days, even a film about a giant snake needs “intergenerational trauma” to work. But Hilditch mercifully avoids drowning his film in drab self-seriousness. Yes, it’s a zombie survival thriller that’s also about grief – but it’s also just a zombie survival thriller, albeit one with less carnage than some might expect. Those gearing up for gore would be forgiven for expecting such given the film’s cursed 2 January release date, typically handed over to the silliest of studio horror, from One Missed Call to Texas Chainsaw 3D to Season of the Witch (they’ll likely be satiated by next week’s killer chimp schlocker Primate instead). We Bury the Dead, which was partly funded by the Adelaide film festival before premiering at SXSW, is less focused on death toll and more on the toll left on those who’ve lost someone, in this iteration as the result of a US government blunder. Continue reading...
Star Wars alum gives an impressively modest performance in this slightly smarter-than-average survival tale
Unlike some other less resilient horror subgenres, the movie is, fittingly, never going to really die. Neither will film-makers attempting to add their own twist, understandable given how repetitive the die, wake up, lumber, bite and repeat formula has become. Australian director Zak Hilditch’s attempt, the rather buried We Bury the Dead, is therefore not quite as striking as it might have seemed a decade and change ago. Using words such as “contemplative” and “mournful” to describe a film that includes its fair share of gnarly head-smashing has become something of a cliche, so much so that last month’s had its characters joke that these days, even a film about a giant snake needs “intergenerational trauma” to work.