The Dead (2011)
by Steve Habrat
How I was unaware a zombie film like The Dead snuck out without me knowing about it baffles me. The zombie horror genre has been overshadowed by the recent rise of teen vampires and “found footage” ghost flicks, the only life being found in AMC’s top-notch The Walking Dead. Basically, if you are a fan of George Romero’s original zombie trilogy (Night of the Living Dead, Dawn of the Dead, and Day of the Dead) and Lucio Fulci’s Zombie (or basically any Italian ziti zombie film), then you need to rush out right now and pick up The Dead. You are going to be blown away by this thing. Certainly not a perfect movie but featuring an unmatched beauty, The Dead is for those who long for the days of the shuffling ghouls, not the sprinting, shrieking zombies that were made popular by 28 Days Later. For a fan of this kind of stuff, it was a blast to sit back and spot all the references and nods to Romero and Fulci all while directors Jonathan and Howard J. Ford carve out their own zombie classic. In all honesty, I haven’t been this excited about a zombie flick since 28 Days Later.
The Dead picks up in Africa, where the dead have risen from their graves and started feeding on the living. Everyman Lt. Brian Murphy (Played by Rob Freeman) is on the last plane out of Africa and just shortly after getting airborne, the plane plunges from the sky. Washing up on zombie-infested shores, Brian begins making his way through the beautiful landscape that has been desecrated with death, eager to find a way back to his family in America. He soon meets up with Sgt. Daniel Dembele (Played by Prince David Oseia), who is on a quest to find his son after his village is overrun by the creeping ghouls, and together they set out to protect and aid each other in their quest.
The Dead is simple and straight to the point, picking up in all the chaos that is tearing Africa apart. There is no lead in, explanation to be found, or an abundance of characters that we need to get to know. We just have Brian and Daniel, both men who have to set aside differences to band together and protect each other. There is not much said between the two men and when they do speak, it’s mostly because they have to. They reveal bits and pieces about their lives, enough for us to really pull for them when they get corned by a group of shuffling zombies. There has been much to do over the slow moving cannibals but the Ford brothers understand that if you always have at least two zombies in the frame, you’re implying that there isn’t much hope for refuge and salvation. These zombies are fairly basic, a little dirt smudged on their faces, a few wounds, dead eyes, and torn clothes. It adds a chilling layer of realism to The Dead. They make us think back to the original terrors that pounded their way into the farmhouse in 1968. They reminded me of the ghouls who forced their way into the Monroeville Mall in 1978. They were eerily similar to the cannibals who shuffled around the tropical island in 1979.
It may retain a traditional style, but The Dead also packs plenty of smarts to compliment the old fashioned approach. The film presents multiple moral situations that would be gut wrenching to face. The worst one we see is an injured African woman trying to flee a group of zombies who are closing in on her. She calls for help to Brian, who is reluctant to assist her, but his reluctance is tried even further when the woman hands him an infant whose cries attract the zombies. The woman forces Brian to take the child, and then forces him to put his gun to her head and begs him to shoot her. It’s scenes like this that makes The Dead such a force to be reckon with. It also mirrors our unwillingness to help those in need, those who are poverty stricken. It was never easy to watch Brian and Daniel put the ghouls down, especially in a place where disease and conflict are consistently present. Surely controversial and upsetting to some who watch it, The Dead understands that there has to be more than just gore to get under our skin, something that Romero certainly understands.
The Dead doesn’t reinvent the wheel and I didn’t really expect it to. That credit falls on the shoulders of Danny Boyle and 28 Days Later. There are a few moments where continuity issues are glaring and a few editing choices that may make you scratch your head. One scene in particular reeks of a tight budget, which seemed to force the Ford brothers to sacrifice clarity. At times, the acting from Rob Freeman is a bit hammy and a little too macho for a man in his situation. Prince David Oseia out acts Freeman in almost every scene and his character is infinitely more interesting. In a way, I sort of liked Freeman’s old-fashioned macho hero because he reminded me of Peter or Rodger in Dawn of the Dead. The Dead never lets up on the viewer; constantly keeping your stomach twisted in knots and you’ll find yourself keeping an eye out for the two heroes. With Romero grasping at rotten entrails and hitting rock bottom with Survival of the Dead, it’s reassuring–and terrifying–to know that there is a stripped down, straightforward, and smart zombie flick out there to satisfy the zombie fans.
The Dead is now available on Blu-ray and DVD.
Posted on February 27, 2012, in REViEW and tagged 1968, 1978, 1979, 1985, 2011, 28 days later, danny boyle, dawn of the dead, day of the dead, george romero, horror, howard j. ford, jonathan ford, lucio fulci, night of the living dead, prince david oseia, rob freeman, survival of the dead, the ford brothers, zombie, zombie horror. Bookmark the permalink. Leave a comment.
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