Last night I completed a two-night re-watch of the South Korean zombie film Train to Busan.I originally reviewed this movie January 2017 when I had the good fortune to see it in a local micro-theater. At that time I gushed over the film and for Christmas my sweetie-wife gifted me with the Blu-ray edition. So, how does it hold up two years later? Have scales fallen from my eyes and have flaws now made themselves suddenly prominent in the bit of cinema?

No.

Off the top of my head and without digging deep into the history of zombie movies I’d place this film within the top three zombie movies of all time. Mind you I am speaking of quality and not importance. Train to Busan ranks along side the 1978 Dawn of the Dead  and 2004’s Shaun of the Dead as zombie movies that transcend genre and move into the realm of art. Where Dawn  using it’s time to slyly comment on consumerist culture and Shaun  uses it’s rom-com format to address life when it is unexamined, Train with its passengers slicing through the various strata of Korean society, comments on the nature of individuals and their relationship to each other, most exemplified by the estrangement between the lead and his daughter, but the theme echoes in interactions throughout the cast with no character, not even the self-serving and villainous business man, lacking in human depth and need for connection with those they love and cherish.

Re-watching the film I am thunder-struck by the performances. Not simply the leads, who are all fantastic, but every small part if played with the life and vitality of a serious performance. Simple expression and single lines of delivery suggest complex interior lives for characters that are never even granted to the honor of being named. Not to be overlooked are the amazing mime performances of the actors portraying the zombies. Twisting and contorting their bodies the actor exude a sense of inhumanness that turns what had become a tired and standard screen monster into something that again can truly terrify.

By the heart wrenching ending of the film I was thoroughly engrossed in the characters fully invested emotionally, Train to Busan  is a fantastic film.

There are horror film, monster movies, and creature features with significant overlap between these three sub-genres and this week’s releaseCrawl pretty much falls into the Creature Feature definition.

Set in a fictional Florida town of Coral Lake during a category 5 hurricane, Crawl  is about Haley Keller (Kaya Scodelario) and her father Dave (Barry Pepper) trapped in the crawlspace of their home while being menaced by aggressive alligators. If you have seen the trailers for the film then you have pretty much seen the entire premise and set-up. Clocking in at a slim 86 minutes Crawl  doesn’t waste much time, very quickly delivering it’s central character Haley into the jaws of danger and then escalated the obstacles throughout the movie. Focused on the dangers of drowning and deadly alligators the movie is light on character development, though it has some just enough to hang the barest story upon, and any deeper theme beyond survival is wholly absent from the script. With the exception of a few secondary and utterly disposable characters this movies rest entirely upon Haley and Dave as they struggle to survive.

In a high-concept movie there is usually one ‘gimmie’ that is asked of the audience, one element that if accepted though it flies in the face of reality allows the rest of the story to unfold organically and with suspension of disbelief. In the classic film Jaws  one has to ignore actual shark behavior but beyond that the film proceeds logically. With this film the one gimmie should be the alligator behavior but sadly the writers and directors instead ask the audience to accept impossibility upon impossibility particularly as the movies crashes through its third act action. Detailed and graphic tissue damage that the characters, both Haley and Dave, sustain from attacks are minimized beyond belief for the sake of keeping the characters mobile, active, and capable of impressive physical feats for even uninjured persons. The first time the filmmakers ignored the realistic effect of a compound leg fracture, I simply groaned and accepted it, the second I silently growled in frustration, and by the climax I needed to stifle actual laughter.  In addition to the grossly under-valued physical damage the characters nearly ignore, the third act also suffers from contrived coincidences with valuable and critical equipment literally floating to the characters in their moment of dire need. As an additional note, a category 5 hurricane has sustained winds exceeding 157 miles per hour and there will not be rescue helicopters flights in such conditions.

Overall I found Crawlunworthy of the timer I spent watching it and I took solace in knowing that as part of my weekly three movies from the theater chain’s subscription service it cost me no extra money. For others, with less sensitive suspension of belief, this movie may turn out to be a fun roller coaster ride, an exciting summer popcorn movie, but for me it was not.

Writer/director Ari Aster the creative forced behind last year’s Hereditary  is back with his sophomore feature film project Midsommar. People who are looking for a horror film in the vein of slashers, monsters, and action are likely to be disappointed with Aster’s slow-burn builds, languid deliberate pacing, and long-take, carefully choreographic photography however those who are enamored with psychological and sociological themed horror such as the originalThe Wicker Man  are likely to find something on Midsommarthat will appeal to their tastes,

Midsommar  centers on Dani ( Florence Pugh) and her disintegrating relationship with Christian (Jack Reynor.) Christian is already searching for a way to end the relationship when a familial tragedy shatters Dani leaving her grief stricken and emotionally vulnerable. Six months later Dani and Christian along with their friends Josh (William Jackson Harper) and Mark (Will Poulter) are invited to vacation and enjoy the mid-summer festivities at an isolated commune The Harga in northern Sweden by their exchange student friend Pelle. Once at the Harga subtle cultural conflicts slowly building between the guests, now including a pair of romantically invested UK students, and the residents of the commune. The guests used psychoactive drugs recreationally while the residents consume them for religious purposes, Christian and Mark want to study the commune for their academic advancement, while for the residents their way of life is part of an ancient and sacred tradition, and Mark sees sexual activities as something of pure pleasure the commune considers it more of cycle of life never foregoing the goal of procreation. These conflicts are not expressed in boisterous loud scenes of shouting but rather build layer by layer a growing sense of dread as the two cultures move irreconcilably towards a devastating final reveal. Dani, unlike the others, starts finding a place and a people that see her emotional injury and, though often concerned about the mysterious events that hint at darker motivations and truths, she discovers an acceptance and even a form of healing that Christian has been unable to give. As the film shifts from the second act into the third the plot descends into revelations, betrayals, the final dissolution of Dani and Christian’s relationship and culminates with Dani’s final resolution the more traditional horror film aspects emerge.

With strong echoes of The Wicker Man, which for those of you in San Diego will be playing soon for one day only at the Ken Cinema, Midsommar  is a movie that invites deep consideration and that for many will haunt their thoughts long after the final credits have vanished from the screen. Gorgeously photographed by Pawel Pogorzelski the film manages a continuously building atmosphere of dread and unease in a setting that has no period of true darkness. It is the rare horror film, psychological or otherwise, that attempts much less succeeds at mood building without a heavy reliance on dark deep shadows. The score is a different sort of musical accompaniment and I do not have the required background in knowledge or terminology to adequately explain it but in terms of mood it fit perfectly, enhancing the film’s emotional subtext without telegraphing it in broad blatant techniques. (Though that aspect of my experiences was marred by the deep bass rumblings from the Imax auditorium next tour ours screening Spider-Man: Far From Home.)

The cast is uniformly terrific, playing each character with credible depth and complexity. I want to make a particular note of William Jackson Harper perhaps best known as Chidi on NBC’s hit show The Good Place. Once again Harper is playing a character with a strong academic nature but through the strength of the script and Harper’s with subtle but effective physicality, I never once had any echoes of his role from that show.

Over all I loved the film and it has elevated Aster into a place where I will go see his next film without any other inducements required. Midsommaris a film that is not for everyone, but if you found Hereditary  or The Witchcompelling viewing then you should waste no time in seeing this movie.

It is said that when a genre cycle nears the end of the ‘life’ and the dramatic idea within that genre run dry the artists turn to comedy. I am not sure I buy that even as a general rule and I certainly do not buy in to that for the subset of horror movies built around zombies as flesh eating undead. 2004’s Shaun of the Dead  is often credited as a film that helped re-launch the zombie movie and its comedic nature is undeniable. An even older than that example is Return of the Living Dead  from 1986, a direct sequel to 1968’s Night of the Living Dead, a dark comedy, and the movie that forever implanted in popular culture the concept that zombies eat brains. So the release of this month’s zombie comedy The Dead Don’t Die  is not in my book a sure sign that the genre had reached its end. Though I will admit that finding really good zombie movies is always a difficult pastime.

Written and Directed by Jim Jarmusch the filmmaker behind the vampire movie Only Lovers Left Alive  The Dead Don’t Die  is a story of the zombie apocalypse as experienced in the small one horse town of Centerville USA. Roughly centered on Police Chief Cliff Robertson (Bill Murray) and police officer Ronnie Peterson (Adam Driver) the film follows a diverse set of quirky characters including Farmer Frank Miller (Steve Buscemi), Hermit Bob (Tom Waits), and new comer to the town and apparently a Scottish samurai undertaker Zelda Winston (Tilda Swinton) and a smattering of other famous actors and musicians playing smaller parts.

Unlike most comedies this movie is paced, quite deliberately, at a quite sedate speed. Things unfold in a slow steady progression and scenes play out with a languid sense of timing. Some of the humor comes from character and context but this film also plays with the a meta-narrative that has at least some of the characters seeming aware of the convention of zombies film and even through own more questionable reality. While there is zombie flesh eating action it is far from graphic in this presentation and Jarmusch replaces zombie blood and gore with a wispy black smoke effect that makes this a nearly bloodless horror film.  Near the resolution in the movie’s third act I was reminded of the Spierig’s brother low-budget indie zombie comedy Undead, but only is a passing manner due to a few shared story elements.

The Dead Don’t Die  is not a film for everyone. The humor is often understated, the pacing more fitting to a foreign film than a typical US theatrical release, and the meta-narrative keeps the viewer at distance, but conversely there are some terrifically understated performances, Bill Murray gives perhaps his quietest comedic line readings ever, several interesting ideas are presented on the nature of life versus unlife, and throughout the movie’s run time I was never bored as I was with the much faster paced Dark Phoenix.