Movies
ZMD: Zombies of Mass Destruction (Horrorfest ’10)
“If you’re expecting a special effects demo reel in the form of a film, you will probably be disappointed (though there is a sufficient amount of gore, and some great effects along with it – faces being pulled off, eyes falling out, etc). This ain’t a “splatter” zombie film. It’s merely a good one.”
The LAFF is pretty choosy with their horror selections, but it sort of pays off, because their limited offerings are usually pretty great. I saw Let The Right One In there, as well as X-Cross (when the hell is that movie going to come out?!?), Flight of the Living Dead, and also an encore of Embodiment of Evil. But on the flipside, I am a bit tired of zom-coms, so I wasn’t sure how I would feel about ZMD: Zombies Of Mass Destruction. Luckily, it was a winner, and continued LAFF’s above average ratio of hits to misses within their still-too-narrow horror selection.
What sets ZMD apart from say, Dance Of The Dead (still not sure why people love that one so much), is an increasingly rare focus on actual social commentary within the zombie shenanigans. Every zombie film in the past 40 years owes at least a little to Romero, but doing the whole “message!” thing seems to be going by the wayside. Not that it’s a completely terrible thing to just make a straight up zombie film, but it would be nice to see a bit more often. Here, we have a directly post 9-11, George W. Bush America version of the usual “small town is besieged” setup (as opposed to the more metaphorical approach in Romero’s Land of the Dead). Our heroine is an Iranian who everyone thinks is an Iraqi, and has to deal with the fact that a good chunk of the town (thanks to a very obvious Fox News parody broadcast) thinks that “Middle Eastern terrorists” are responsible for the zombie plague.
Our other heroes are a pair of homosexuals, one of whom is still closeted. They have returned to town in order for the closeted one to finally confess to his mother that he is gay, at the insistence (OK, demand) of his lover, who is proudly “out”. The film specifically takes place in 2003, so writer/director Kevin Hamedani lost a bit of humor potential, as “Gay Marriage” is a far more prominent issue nowadays than it was 5-6 years back. In fact, the only time the humor really didn’t work on me is when the local priest hooks one of them up to a machine that can “straighten him out”. The humor in the film all works from the realistic characters faced with the ridiculous notion of the living dead, and this machine almost seems more far-fetched than the idea of zombies.
But like all zom-coms, you have to expect a certain number of dud gags and jokes, so it’s hardly problematic, especially when so many work. I laughed out loud a dozen times, and was charmed throughout. There’s a gag involving someone trying to escape after being (briefly) tortured that had me laughing for at least a minute, and someone’s simple reaction (“What?!?!”) to a particularly strange event made me laugh even harder. There are also a number of unique zombie gags, which is pretty impressive as you would think that it would be hard to come up with even one at this point.
It also has a few decent scares (p.s. slow zombies for the win!). The first outright attack is played for laughs, but it’s also fairly shocking in its suddenness. An assumed “safe” character is also done in when you least expect it, and it allows for some genuine suspense as our heroes make their way to safety, as you have that “no one is safe” feeling. Well played. The ending comes a bit abruptly (plus two of the featured humans suddenly disappear), but it’s still one of the more satisfying conclusions to a zombie film in recent memory, without any needless sequel setup (or worse, a sudden downbeat turn, like Bio-Zombie).
Obviously, the film is making the festival rounds right now, but hopefully folks can get an opportunity to see it soon without the hassle of a festival keeping them at bay. It’s the best of its type since Shaun Of The Dead, and the fact that it blends the social commentary in to boot (and does so in a slightly more subtle manner than stuff like Zombie Strippers) is quite laudable. If you’re expecting a special effects demo reel in the form of a film, you will probably be disappointed (though there is a sufficient amount of gore, and some great effects along with it – faces being pulled off, eyes falling out, etc). This ain’t a “splatter” zombie film. It’s merely a good one.
Judging from the unprecedented box office success of Kane Parsons’ Backrooms adaptation, you’ve likely already seen the liminal horror hit that managed to make audiences afraid of empty hallways and bad wallpaper. And now that so many of us have already entered the yellow labyrinth (some of us more than once), the time has come to discuss the spoiler-filled details that make the movie so fascinating in the first place.
And if there’s one element here that makes the Backrooms movie stand out from any previous lore/mythology, it has to be the genius addition of the Still Life entities. Warped recreations of real people that somehow wandered into the Complex, these misremembered creatures are responsible for some of the most disturbing imagery of 2026 – as well as laugh-out-loud memes created by one of the film’s very own concept artists.
However, true to Parsons’ word that the movie would rely heavily on practical effects, each of these distorted monsters was brought to life by real actors under heavy layers of makeup and prosthetics (with the occasional splash of CGI enhancements). While Anora and If I Had Legs I’d Kick You actress Ivy Wolk wasn’t among these performers, despite what Letterboxd might have you believe, the creature cast did benefit from veteran players with plenty of genre experience.
For starters, Alien: Romulus alumni Robert Bobroczkyi (who previously brought that film’s horrific Offspring to life during its most memorable sequence) plays the flick’s main antagonist, the Still Life version of Captain Clark. And though there was some obvious CGI involved in making the character’s peg-leg and nightmarish face more believable, Bobroczkyi’s monstrous performance and his natural 7’7″ frame helped to make that final chase sequence a clear highlight among this year’s genre offerings.
The film’s Texas-Chain-Saw-inspired “dinner” scene also features a freaky collection of less-aggressive Still Life creatures in the form of the Bearded Man, the Red-Headed Woman and, strangest of them all, the cheekily named “Archibald Leland Sutter Still Life” (who earned this title among fans and crewmembers as a reference to his apparent affinity for lamps).
While this was the first major horror outing for both Patrick Baynham (The Bearded Man) and Dana Mahmood (Archibald), Rhiannon Roberts has worked as a stunt performer in everything from Yellowjackets to HBO’s The Last of Us adaptation – which is probably why The Red-Headed Woman is the most active out of Clark’s impromptu “family.” That being said, the Archibald Leland Sutter Still Life is my personal favorite of the bunch simply because his anachronistic outfit suggests that the Backrooms phenomenon might be a lot older than the Async Foundation. I also love how hard he tries to be helpful with that little light of his!
That might be it for the Still Life entities, but I think horror fans will also be pleased to hear that the film’s Found Footage prologue stars none other than Resident Evil: Welcome to Raccoon City star Avan Jogia as Naren Warne – and American Mary herself Katharine Isabelle also shows up in a blink-and-you’ll-miss-it cameo at Mary’s house party towards the middle of the story (though I have a feeling that she originally had a bigger part that was likely cut for time).
At the end of the day, Parsons’ Backrooms may have been an auteur-driven project motivated by the young director’s unique take on the classic creepypasta, but film has always been a collective artform, so it’s fun to see just how many talented performers it takes to bring this kind of supernatural nightmare to life in a way that connects with so many people.
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