Whenever it comes time for me to review a zombie movie I find myself shuddering. Not from the prospect of a terrifying tale concerning the dead rising up to walk bringing an end to civilization but rather at having to sit through yet another two hours of skin Sloughing effects makeup of the lumbering hordes intent on you destruction. I grew up in New York where there are neighborhoods downtown that provide a similar sight that are significantly more frightening. The zombie movie has been around for many decades practically since the format of film caught on but in recent years it seems to be one of those go to plot devices for budding auteurs hoping to become the next George Romero toping the Ranks of certified Masters of Horror. Imitation may be the sincerest form of flattery but as noted by the genius of thrillers Alfred Hitchcock’ "I don’t care if they say a film is like mine as long as they don’t say they are better. Mr. Hitchcock has remained safe in this intention and so far it appeared Mr. Romero would enjoy the same assurance but after so long with pale knockoffs and reimaginings a film has come around that has the potential to make its own significant mark in the belabored genre; ‘The Dead’.

Initially, zombie movies were rather crude variations of horror were the undead were risen but some ancient herbs and incantations remembered only in a covert cult in the tiny island nations of the West Indies. The in 1968 Romero reinvented the genre with his seminal cult classic ‘Night of the Loving Dead’. Throughout his career he examined zombies in every portion of our familiar daily cycle from dawn, day and dusk. Other quickly followed suit and soon you could attend any horror venue without running into the brain and flesh hungry zombies. Aficionados of zombie flick have even classified the various kinds of undead creatures by rate of locomotion, dietary preferences and problem solving level. In most the mystical spells and exotic herbs have been replaced by biological weapons gone awry or some other manifestation of our technological age. What was lost along the way was the perfect clash of the mystical occult and modern society. ‘The Dead’ makes a significant leap in returning the zombie film to its pre-Romero origins while amazing retaining the essence of social observation that he imbued into the genre.

The continent of Africa has explored in bitter warfare. Flights evacuating the population were running as frequently as possible but now the last flight has taken off. It crashes on the coast leaving only one survivor Air Force Engineer Lieutenant Brian Murphy (Rob Freeman). He finds himself in the midst of a land now overrun by the dead, brought back to a mindless, animalistic state driven by the mist primitive of motivations. Murphy encounters a local, Sergeant Daniel Dembele (Prince David Oseia) whose village has been annihilated in this plague of the walking dead. Although the etiology of the zombie apocalypse remain the same as usual, a rogue virus, the setting and resultant clash of cultures elevate this film sufficiently above the well established pack as to make it one of the most ingenuous incarnations of the zombie flick in many years. There will always be a special exalted place of honor for the Romero franchise but ‘The Dead’ has carved out its own unique niche in the annals of zombie lore. A majority of the credit is due to the innovative twist infused in this venerable genre by the award winning Ford brothers, Howard and Jonathan. They have substituted 35mm camera work for the gritty stedicam usage that has come to dominate zombie movies. The reason this is so successful is in their decision to change the venue for the action. The locations for the majority of zombie movies are tied to civilization; typically the ruminants of a devastated city or the isolation of a rural house long since abandoned. The rationale for this stylistic choice is sound, juxtaposing the visceral horror of the mindless zombie against the ruins of our society. It is a point made numerous times and has enjoyed a rather robust variety in the subtext used from an indictment of our infatuation with consumerism to over reliance on technology. In ‘The Dead’ the vastness of the African continent steps forward as an active participant. The Ford Brothers expertly utilize the incredible diversity of the landscape to bring the zombie menace back to nature. The audience is reminded that this planet is much more than a place for mankind and out technological marvels. There is an immense ecosystem that can either embrace us to be forebodingly deadly to our kind. Here the zombie represents a danger not only to the fragile equilibrium we require for survival but potentially can shift the balance on a global scale. The grand scale of this impact is wonderfully balanced by the purely instinctive drives to survive and for Dembele to find his son. This is more than just a casual plot device it grounds the story giving the audience something tangible to identify with.

This film expertly navigates the thin line between the familiar staples of the traditional zombie flick with an excitingly innovative approach to telling this sort of a story. Not only do our intrepid heroes have to avoid the zombie unstoppable zombie hordes they have to plot a course through the beautiful yet inhospitable topography of Africa. I admit that I thought I had seen every conceivable permutation of the zombie movie but this one proved there is still uncharted territory if the filmmakers have the imagination and diligence to search for it. Fortunately the Ford Brothers are such a pair. They are the most notable brother team to hit horror since Oxide and Danny Pang.

Posted 02/04/12