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Hearing that I had to watch another zombie movie? I groaned. After that gory “World War Z” PG-13 movie, “The zombie genre is off limits. At least that is what I vowed. I have been hearing a lot of stories telling us to inspired Chuck Palahniuk’s work and in this case, Romero’s body of work imitation is one of them.
But it did not take longer for me to realize that “The Returned” is just another zombie movie. Is it just me or does every one of those have ambition? Like one allowing humans to try and get rid of those flesh eating monsters. It is less gory and more of a suspense thriller with sci-fi elements sprinkled on top. Wieners do get chopped here and there, but there is some logic featured along. Plus, and most importantly, there is a statement regarding social imaginary issues that show the conflicts taking place in our country.
Instead of referring to ‘the haves and have-nots,’ or legislation about undocumented people, there is conflict between those who are healthy and those who are affected. A while back, there was a zombie outbreak that killed millions but was contained due to advances in modern medicine. Those who were bitten can receive an everyday shot that prevents them from turning into bloodthirsty creatures, but only if action is taken in time. The people in this human zombie crossover are referred to as “The Returned” and their presence in society is widely controversial.
A perfect example is this Toronto couple, Kate and Alex, played by Emily Hosehire and Kris Holden-Ried respectively. Kate is a doctor that treats The Returned while Alex, her husband who loves her dearly, is a is a skilled guitarist who happens to be amongst The Returned. The couple resides in a modern high-rise furnished condo. It is clear they are more than just comfortable with each other, portraying a healthy relationship.
In regards the removal of partially enabled patients, this decision has been overly simplified for its ethical implications. Addressing the justification for an unkind approach to treatment being given, Kate, who practices her field of work at a particular hospital, seemingly suffers from a serious conflict of interest. She unhesitatingly tells parents of this boy, “Being one of the Returned is a privilege, not a curse,” as if she is the one wearing a doll in that castle.
Naturally, the supply of the antiviral serum is almost completely exhausted. And while novel attempts are being made with the hope of synthesizing it, it is uncertain when those efforts would yield results. The anticipated drought results into further defying the logic of trying to keep the infected patients alive. Some of them want to stands still and watch the infected forgotten land where these stigmatized survivors are placed, while others go to the extent of protesting their existence altogether.
As the situation escalates and the violence reaches extreme levels, the stock continues free-falling. At this point, Kate had already been obtaining supplies from Alex so when her friends, who were more than willing to help her out, offered to hide away at their remote chalets, she realized is was time to go on the run.
From this point onward, “The Returned” is way too predictable for my tastes. I just kept thinking to myself, “Uh-oh,” because the plot kept taking more and more turns that I expected. Surprise, surprise: If a zombie horror film establishes an unmanned gas station, I strongly recommend against checking what is making the noise in the back room.
The noteworthy observation is that director Carballo was able to make the former suspenseful scene less predictable using music, ambient noise, adequate lighting, realistic handheld camerawork, and blending science and politics. One must admire the sociological sense of fiction he manages to build: you get the constant feeling that this is plausible, here, and now, plus the fact that these two actors Hampshire and Holden-Ried deliver the kind of sensitive, subtle performances that draws the audience’s attention to their relationship. That is one thing with ‘Warm Bodies’ But now we are presented with two adults fighting to keep love alive under very dire circumstances which makes it quite interesting viewing.
Carballo manages to blend both and knows when to be playful, for example, when he uses a clip from Bela Lugosi’s “Dracula”. Similarly, during a zombie movie, there are times when one needs to remain true to the genre. He, like everyone else who watched “Night of the Living Dead”, clearly understands that a Romero-sanctioned shot in the head is the most effective way to get rid of a zombie.
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