December 8, 2013


Marvin Kren, 2010
Michael (Michael Fuith) has recently broken up with his girlfriend Gabi (Anka Graczyk). He shows up at her apartment unannounced to return her key and hopefully convince her to stay with him. His bad timing is proven when the world outside of the apartment is hit with a rapidly spreading virus, and Gabi is nowhere to be found. He seeks refuge in the apartment with a plumber's apprentice who happens to be working there.

It's hard to convince anyone to watch a new zombie picture. It's a very much over-saturated genre. Most of the zombie films that are released are poorly made, no question. Most of them steal certain attributes from their predecessors. Been there, done that. So someone convinces you to put on the new one, and you sit there hoping to be surprised. And honestly, the odds are against you. But alas, a German zombie film. Perhaps the Europeans have different standards? Perhaps they don't see a Romero film and say "Hey, I can do that! Perhaps they have never seen an episode of The Walking Dead. They probably have. But rest assured, there is a decent one here. It's hard to make a zombie picture nowadays and have it be COMPLETELY unique.

But this one is done pretty well. It's a zombie film that's short and sweet. The film opens up and you are immediately introduced to Michael, who is really the every-man character. Balding and not in shape. He fantasizes about getting his girl back. He shows up to her apartment with an image in his mind of her opening the door and immediately hugging him, telling him it was all a huge mistake. Instead, he is faced with an unforeseen obstacle. A zombie pandemic. Who could see that coming? That premise is so over-used, but to Kren's credit he draws out his story effectively and with some unique touches. And in the end, it could be considered a clear limited storytelling piece. Muted colors. A sense of urgency. Erratic camera work that puts you in the narrow passageways. He sets his time clock short. You have about ten seconds to remove yourself from the room, or you are screwed. And you removing yourself from the room may mean throwing yourself in the next room, much smaller, with no exits. Walls become smaller, claustrophobic. Simplicity is the strength of the film. Kren knows he isn't breaking new ground, and he is not trying to.What he does offer is good camera work, impressive acting, and a beautifully constructed love scene in the final act that is certainly him signing his name on his love letter to Jaume Balaguero (REC).

No comments:

Post a Comment