It’s near impossible to recommend One Cut of the Dead without spoiling what makes it special, so I’m going to have to tread lightly here. This is maybe the most deceptively complex horror comedy I’ve ever seen. It’s certainly the most patient; the movie takes a huge gamble in saving all its major comedic payoff for its concluding half hour – an alchemist third-act twist that retroactively transforms the movie you think you’ve been watching for the previous hour into pure gold. Whether or not all its potential audience will stick around for the full benefit of that payoff is a major risk, especially since encouraging viewers who are going in blind to push through the limitations of its initial conceit might already be tipping the film’s hand. All I can really report without prematurely revealing too much is how the film toyed with my own expectations. I found it quietly charming, then disorienting & awkward and then, finally, one of the funniest movies I’ve seen in a theater in a long, long while – horror or otherwise.
As the title suggests (perhaps awkwardly, in Japanese-to-English translation), the initial conceit of One Cut of the Dead is that it is an experiment in staging a zombie-invasion horror film in a single take. A microbudget movie crew filming a zombie cheapie in an abandoned WWII lab (that once experimented with bringing the dead back to life) are attacked by real-life zombies between takes. The unflinching, handheld camera offers a meta POV of the crew’s shock & subsequent fight for survival as the zombie mayhem they’re struggling to authentically stage for an unseen audience becomes “real.” Deciphering exactly what’s meant to be “real” within this paradigm and what’s merely a limitation of staging a single-take zombie picture on an amateur budget is increasingly difficult. Stage blood & actors’ spit splash against the lens. Performers wait a beat or three too long for their proper cues to deliver their next line. The POV cameraman is directly acknowledged by the actors, despite there already being a meta remove of a movie-within-the-movie. So much of One Cut of the Dead is on shaky logical ground because of the limitation of its filmmaking resources, but horror fans who are inclined to watch low-budget, high-concept zombie movies in the first place should be used to making those allowances. What’s brilliant about the film is how it transforms those awkward low-budget details into something brilliantly executed & purposeful. Revealing how it performs that miracle in a review would be a crime that I’m not willing to commit. You just have to afford it your attention & trust long enough to see it for yourself.
The biggest hurdle in convincing people to watch One Cut of the Dead long enough to catch onto what it’s accomplishing is that it’s a little difficult to convince people to watch any zombie movie in 2019, especially the kind that was made for less than $30,000 and most plays at genre film festivals like The Overlook. That’s the ultimate trick to the picture, though. This isn’t about zombies at all. Rather, it’s a heartfelt love letter to low-budget filmmaking and all the frustrations, limitations, and unlikely scrappy successes therein. Even before you’re allowed to fully catch on to what you’re watching, the movie’s already pitting a microbudget film crew against the horrors of the world outside their orbit. Actors strain to convey believable emotion in a preposterous scenario; sound technicians fight off the undead with boom mics; directors & cameramen defy all survival odds to piece together whatever scraps they can salvage from a film shoot that immediately goes to hell. This is a movie about the improbable joys & common frustrations of making movies, a sentiment that only becomes more apparent the more time & attention you afford it.