Summary
In this film (reviled by the conservative world of fans of the most conservative subgenre of terror perhaps for its virtues), Zack Snyder dares to introduce some innovations in the zombie world, avoids solemnity, includes discreet notes on the present pandemic, notes from humor, some charismatic characters and, fundamentally, it displays extraordinary action scenes, adrenaline, fast-paced and very well resolved visually and from the soundtrack, giving us 2 and a half hours of pure entertainment.
Review:
The city of Las Vegas has been invaded by zombies and turned by the government into a kind of ghetto. The owner of a casino hires Scott Ward, a veteran (Dave Bautista) to rescue a fortune that was locked in the safe of the same, within the city. Ward will form a small squad to carry out his mission.
I am not a particular fan of zombie movies, a horror subgenre in general less innovative than vampire stories and that even makes a cult of rigidly maintaining certain premises. I think this partly explains the anger this Zack Snyder film has unleashed among conservative fans of the subgenre. The director and co-writer does not take his story too seriously, but he does introduce some innovations in the zombie world (generally chaotic and anarchic): humanization, hierarchical and social organization traits that provide some of the best and most powerful moments of the game. Film.
The introduction and titles of the film act as a true and accomplished summary of how Las Vegas got there. Its status as a ghetto that has its days numbered and that is surrounded by a wall and the presence of an adjacent medical camp establishes clear connections with the current pandemic moment and the Trump wall (in the latter case with an ironic undertone).
Znyder also does not take too seriously the personal stories and the links between the members of the brigade (in charge of a cast without stars), with their pending accounts, frustrations, expectations, dark points, betrayals, disagreements and reunions. But fortunately he does not fall into parody or self-awareness. The dialogues seem to function more as plot points of rest, almost as separators, in a group dominated by very frustrated Latino and African-American members. Perhaps the best developed and integrated links to the story and with more chemistry are the one that develops between the German safe expert Dieter (Matthias Schweighöfer, a find) with one of the members of the group (Omari Hardwick) and ironically another on the zombie side. Another situation, the deteriorating relationship between a father and his rebellious daughter, is already too busy.
But the strong point of this film is its extraordinary action scenes, adrenaline, fast-paced and very well resolved, supported by a great soundtrack, with our antiheroes facing all kinds of zombies (some of which run very fast, unlike the traditionally hesitant) in different situations, with abundant dose of gore, in a reconstruction of a semi-destroyed Las Vegas as a mind-blowing setting. Let us bear in mind that the operation takes place before our eyes practically in real time.
In this film (reviled by the conservative world of fans of the most conservative subgenre of terror perhaps for its virtues), Zack Snyder dares to introduce some innovations in the zombie world, avoids solemnity, includes discreet notes on the present pandemic, notes from humor, some charismatic characters and, fundamentally, it displays extraordinary action scenes, adrenaline, fast-paced and very well resolved visually and from the soundtrack, giving us 2 and a half hours of pure entertainment.
Review:
The city of Las Vegas has been invaded by zombies and turned by the government into a kind of ghetto. The owner of a casino hires Scott Ward, a veteran (Dave Bautista) to rescue a fortune that was locked in the safe of the same, within the city. Ward will form a small squad to carry out his mission.
I am not a particular fan of zombie movies, a horror subgenre in general less innovative than vampire stories and that even makes a cult of rigidly maintaining certain premises. I think this partly explains the anger this Zack Snyder film has unleashed among conservative fans of the subgenre. The director and co-writer does not take his story too seriously, but he does introduce some innovations in the zombie world (generally chaotic and anarchic): humanization, hierarchical and social organization traits that provide some of the best and most powerful moments of the game. Film.
The introduction and titles of the film act as a true and accomplished summary of how Las Vegas got there. Its status as a ghetto that has its days numbered and that is surrounded by a wall and the presence of an adjacent medical camp establishes clear connections with the current pandemic moment and the Trump wall (in the latter case with an ironic undertone).
Znyder also does not take too seriously the personal stories and the links between the members of the brigade (in charge of a cast without stars), with their pending accounts, frustrations, expectations, dark points, betrayals, disagreements and reunions. But fortunately he does not fall into parody or self-awareness. The dialogues seem to function more as plot points of rest, almost as separators, in a group dominated by very frustrated Latino and African-American members. Perhaps the best developed and integrated links to the story and with more chemistry are the one that develops between the German safe expert Dieter (Matthias Schweighöfer, a find) with one of the members of the group (Omari Hardwick) and ironically another on the zombie side. Another situation, the deteriorating relationship between a father and his rebellious daughter, is already too busy.
But the strong point of this film is its extraordinary action scenes, adrenaline, fast-paced and very well resolved, supported by a great soundtrack, with our antiheroes facing all kinds of zombies (some of which run very fast, unlike the traditionally hesitant) in different situations, with abundant dose of gore, in a reconstruction of a semi-destroyed Las Vegas as a mind-blowing setting. Let us bear in mind that the operation takes place before our eyes practically in real time.