horror comedy

Dead Snow (2009)

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three star
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There’s a critical flaw at the heart of the Norwegian horror comedy Dead Snow that keeps it from being the absolute classic Shaun of the Dead-style schlock send-up it comes so close to achieving. For some strange reason the film stubbornly likes to pretend that its audience doesn’t know what is coming. Despite the exact nature of its threat being spoiled in every last piece the film’s advertising, Dead Snow keeps its monsters in the dark for as long as possible. Anyone likely to watch the movie in the first place would presumably be interested solely because of the gimmick of its monsters, so withholding them from the screen doesn’t build tension. It feels more like treading water.

Since I’ve already hinted to the “surprise” in the illustration above & it’s much more explicitly laid out in the film’s promotional material, I’ll just go ahead & spill the beans. Dead Snow is about Nazi zombies. It’s a Nazi zombie horror comedy. Since most of the audience is already prepared for that premise from the get go, it becomes increasingly frustrating that we don’t see a zombie Nazi in full regalia until 2/3 into the film. As if the promo material weren’t enough to prime you for the “surprise” there’s an ominous monologue from a local yokel that spins a yarn about a bygone Nazi occupation & some stolen gold that sets up a Leprechaun type scenario where the doomed victims are bound to unwittingly “steal” some Nazi treasure that the undead fascists will undoubtedly come knocking for. When the first fully visible Nazi zombie appears on the screen I was expecting to shout “Awesome!” but instead it was more of a “Finally!”

Despite the little bit of pained effort it takes to get there, Dead Snow eventually delivers on its promise of Nazi zombie mayhem & the film devolves into some great splatter-soaked chaos. With references to films like Peter Jackson’s Braindead (aka Dead Alive) & every group-of-youngsters-murdered-in-a-cabin horror cheapie ever, Dead Snow is smart to go over the top once it finally delivers on its premise. Eyes are gouged, head are crushed, a vast army of undead Nazi scumbags are gunned down & ripped to shreds. It’s a truly fun release after a very slow build that unnecessarily tests the audience’s patience before it lets loose. I’m hoping that since the hammer has already fallen that the same mistake wasn’t repeated in the sequel, last year’s Dead Snow 2: Red vs Dead. If it just would get to the good, bloody stuff a little quicker, a Dead Snow movie could easily go from “pretty good” to something much more special.

-Brandon Ledet

Wyrmwood: Road of the Dead (2015)

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twohalfstar

The ads for the recent horror comedy Wyrmood: Road of the Dead had me expecting a low budget, “sweded” version of Mad Max: Road Warrior, not necessarily because it was filmed in Australia or included the word “Road” in its title, but because of the film’s costume design. The characters were shown suited up in makeshift armor composed of protective sporting gear like hockey masks & football pads, as if they were preparing to play some kind of Mad Max-themed organized sport. Unfortunately, that’s not exactly what’s going on here. Instead, Wyrmood apes a completely different genre franchise: Sam Raimi’s Evil Dead trilogy. Had I better prepared myself for the film’s zany zombie comedy tone, I may enjoyed it slightly more than I did, but there’d still be the underlying problem that at this point in time, the world isn’t in any particular need of another straightforward zombie exercise, goofy or not. There are surely still die-hard fans of the genre that will enjoy Wyrmwood for its undead antics, but for everyone else the film has a lot of potential to feel almost entirely pointless.

That’s not to say there aren’t some original concepts in Wyrmwood’s zombie-infested world. There are some entertainingly outlandish ideas about using zombies as an alternative fuel source, a still-alive human who can control the zombies through a telepathic mental connection, and how a person’s blood type can affect their chances of infection, but a few fresh details aren’t really enough to distinguish the film from the run-of-the mill titles of its genre. This more-of-the-same vibe is most apparent during flashbacks to the initial outbreak, a story we’ve all seen told many, many times before. The best chances the film has of standing out on its own as a unique property are in its goofball humor or its incredible costume design, but as mentioned before, even those elements feel familiar to the work of Army of Darkness’ Sam Raimi or Mad Max’s George Miller. The most unique element in the entirety of the film, then, is a mad scientist who schedules disco breaks in his back-of-a-truck laboratory (when he’s not torturing both the alive & the undead), but his presence isn’t of enough consequence to make too big of an impact.

I’m willing to chalk up my disappointment with Wyrmwood as a personal problem and the film’s. I’m sure there are plenty of people for whom another straightforward zombie comedy sounds like a fun-enough endeavor (even with its preference for CGI blood splatter over practical effects). I’ve even enjoyed a few recent ones myself, like the zom-com titles Warm Bodies & Life After Beth, but I felt like those brought a lot more fresh ideas to the table. Wyrmwood is more concerned with having fun than having something interesting to say, which is a generally admirable approach to any genre, but just doesn’t add up to enough here. It would take someone with a certain level of reverence for the inherent charms of the zombie genre to not mind watching more of the same at this point, goofy antics or not. I just didn’t have it in me.

-Brandon Ledet

The Voices (2015)

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twostar

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Comedy is risky. If you fail to connect with your audience the time you spend together can be brutal. Just ask any stand-up who’s bombed a set. That disconnect between audience & performer can be even more punishing if the material is aggressive. To succeed, a horror comedy has to find humor in sadism & cruelty and it takes a well-balanced, lighthearted tone to pull that off properly. Curiously enough, The Voices fails even though it nails that balance. There’s a playful party vibe to the movie (complete with a conga line) that counteracts its homicidal maniac narrative very well, achieving the exact kind of tonal balance a horror comedy typically needs to succeed. That makes it all the more frustrating that I just didn’t find it funny and, by extension, didn’t enjoy the movie outside of an occasional chuckle.

The main problem for me personally might just be an over-saturation of Ryan Reynolds. There is just so much Reynolds in the movie. He not only plays the central serial killer protagonist, but also provides the voices that the killer hears in his head, voices he attributes to his cat & dog. The idea of a talking cat & dog inspiring the crimes of a crazed killer sound like it could be played laughs rather well, but it just fails to reach anything approaching humor in The Voices. It’s not that I have anything particular against Ryan Reynolds in general. He has a natural smarm to his charisma that makes him an effective cad in films like Adventureland & Waiting, but whenever he’s supposed to be a likeable protagonist I fail to connect. That connection is made even more difficult here by the hurdles of him playing both a murderer of women and house cat with a Scottish accent. There’s some backstory to his killer protagonist’s childhood, which was plagued by an abusive father & a mother who also heard voices (attributed to angels instead of pets in her case), but it does little to make him likeable or his murderous antics amusing. Much of the film plays as if in Tucker & Dale Vs Evil Tucker & Dale turned out to be coldblooded, homicidal bullies but you were supposed to root for them anyway.

The English-language debut of Persepolis-director Marjane Satrapi, The Voices has so much going for it. Saptari provides the film a delicious living-cartoon setting, a playful atmosphere, and Disney-esque hallucinations that made the tonally similar (but much more amusing & less “on the nose”) Miss Meadows enjoyable, but here it’s all for naught. Even the adorably dorky charisma of Anna Kendrick couldn’t save the film from its core problem of being a failed comedy with an unlikeable ham protagonist. When comedies don’t work there’s just no way for an audience to enjoy themselves. I wish I could’ve laughed at the dialogue coming from Reynolds’ talking pets; I wanted to find them hilarious. Instead I was blankly staring at their stupid, little CGI mouths and hoping for the run time to be over quickly. I’m sure there are plenty of people who will be laughing right along with The Voices’ admirable brand of goofy, black humor, but it’ll be a total chore for whoever finds themselves watching in silence, unamused. Trust me.

-Brandon Ledet