Movies
[Review] Zack Snyder’s ‘Army of the Dead’ Delivers Uneven Zombie Heist Movie
Zack Snyder’s latest zombie movie doesn’t reach the heights of his Dawn of the Dead.
Zack Snyder set a high bar for himself in the realm of undead cinema with 2004’s Dawn of the Dead. The high-energy remake of George A. Romero’s classic made zombies scary again without sacrificing heart, and all these years later it left fans rejoicing with the news that the filmmaker would finally return to the world of zombies. Even the premise, a heist feature set in an overrun Las Vegas, sounds like a safe bet for gory zombie excess. While Snyder does indeed inject action spectacle and bursts of fun into Army of the Dead, this elongated and long-awaited return fails to set itself apart from the other horror movies it heavily emulates.
Snyder hits the ground running with a thrilling opening scene that sees a bioweapon released just outside of Las Vegas. Cue the hot pink credits as debauchery collides with carnage throughout the casinos. Through slow motion, survivors band together to evacuate just in time for the government to close off the city. Vegas was left to the dead for a period until the government schedules a nuke drop to destroy their zombie problem for good, just in time for the Fourth of July fireworks. Bly Tanaka (Hiroyuki Sanada) hires Vegas survivor Scott Ward (Dave Bautista) to assemble a team to infiltrate the city and retrieve the loot from his casino vault before it’s gone for good. It’s a zombie movie, though, and everything can and does go wrong.

After that stellar opening, Army of the Dead slows down and spends an inordinate amount of time setting up the heist and establishing the team. Ward enlists right-hand man Vanderohe (Omari Hardwick), helicopter pilot Marianne (Tig Notaro), and former close pal Maria (Ana de la Reguera). They’re assigned Bly’s henchman Martin (Garret Dillahunt), and the rest they hire based on skillset. Scott’s estranged daughter Kate (Ella Purnell) forces her way into the group for a personal mission. Their guide into the quarantine zone is coyote Lilly (Nora Arnezeder), who has first-hand experience with the strange new hierarchy this undead city established. At an almost two-and-a-half-hour runtime, it takes nearly an hour before the team even ventures into Vegas. With superficial characterization, the setup stretch can feel like a chore.
Once inside the walls, Snyder and co-writers Shay Hatten and Joby Harold borrow from Land of the Dead, Ghosts of Mars, and Aliens to spin their heist tale. Mostly, though, the story is merely connective tissue between action set pieces. Snyder more than delivers on the zombie gore, made all the better when practical effects are utilized. This movie is, however, a CG-heavy affair. Scene-stealer Notaro quips her way through her last-minute replacement role, which meant she had to be digitally inserted into the film. Notaro seamlessly blends in during some scenes but far less successfully in others.
Bautista imbues Scott with enough charm to bring rooting interest, but none of the other human characters fare as strongly. Most of the emotional beats come just moments before a major character death. On the one hand, it’s refreshing that no one is safe. On the other hand, it’s tough to care who lives or dies. Strangely, it’s the zombies that earn the most sympathy. Alpha king Zeus (Ghosts of Mars’ Richard Cetrone) and his Queen (Athena Perample) have created a kingdom with structure. Not only are they the most interesting pair of the film, for reasons, but their animalistic nature makes them captivating to watch. Throw in a zombie tiger and horse, and it’s a shame more time isn’t spent in this world rather than on set-up.
Army of the Dead’s visual style is as uneven as the pacing. The stretches between action set pieces can sag tremendously. Despite a ticking clock setup, that time crunch never seems to present an issue for the group, save for one or two dialogue mentions. It’s overlong and understuffed. The action set pieces bring the fun, though, and it’s in those moments that it’s clear Snyder’s having a blast. Team member Chambers (Samantha Win) channels Aliens’ Vasquez in an exciting way and the final act springs to life in a way that finally reminds you this was a heist movie. Army of the Dead doesn’t reach the heights of Dawn of the Dead, nor does it do anything new with its borrowed concepts and tropes. Still, nuggets of gold are found throughout, especially when the movie doesn’t take itself too seriously. Much like Vegas itself, enjoyment might be a bit of a gamble.
Army of the Dead releases in limited theaters on May 14 and arrives May 21 on Netflix.

Editorials
‘Backrooms’ Lore Explained: Async Research Institute and the Complex
The iconic line “If you build it, they will come” may have originally referred to a baseball field, but I’d argue that the record-breaking success of Kane Parsons’ Backrooms is proof that the line could also refer to well-crafted movies about ideas that young cinemagoers actually care about.
Yet, despite being based on Parsons’ existing ARG/Webseries, the A24-produced film is more of a standalone tale exploring the personal implications of the titular rooms rather than a traditional examination of the hard sci-fi elements present in the source material.
This less lore-reliant approach was a genius move, as the resulting film ended up being equally accessible to both existing fans and newcomers alike. That’s not to say that Backrooms doesn’t engage with the existing mythology in new and interesting ways, however, as the film heavily expands on the Async Research Institute and the cryptobiology of the rooms themselves. With that in mind, I’m diving a little deeper into these connections in order to help fledgling Backrooms enthusiasts find their way around the yellow labyrinth.
As is to be expected from this kind of article, there are major spoilers ahead, so proceed at your own risk if you’ve yet to see the movie!
Who is Async Research Institute in the Backrooms Movie?

Backrooms. Courtesy of A24.
Of course, if we’re going to discuss the connections between the series and the film, a good place to start would be Async itself. The California-based Foundation plays a brief yet pivotal role in the film as outside observers that only really interfere with the main plot during the final act. While the Foundation is the main focus of the ARG, they’re mostly hinted at in the film.
Chiwetel Ejiofor’s Clark runs into several Async-built “anomaly lures” during his exploration of the liminal space (mostly in the form of human-shaped cut-outs accompanied by audio recordings inspired by the 1977 Voyager Golden Record), as well as surveillance cameras and evidence that at least one of their agents has become trapped in the rooms – though we’ll get to this last detail later.
It’s only towards the end of the flick that Foundation agents finally show up in their iconic yellow protection suits and “rescue” Renate Reinsve’s Mary by pulling her back to “reality” through a familiar portal, though it’s heavily implied that they might not be all that concerned with her well-being.
After all, long-time fans are aware that Async has been researching the “Complex” (their official name for the Backrooms phenomenon) since at least the late 1980s, with their Threshold experiments being based on a Low-Proximity Magnetic Distortion System prototype developed by Oak Ridge National Laboratory in 1982. Unfortunately, their experiments have likely resulted in hidden portals appearing more frequently in the outside world, which consequently leads to more people accidentally “no-clipping through reality”. And that’s not even mentioning the occasional earthquake caused by unstable Thresholds!
Where the Backrooms Fits in the Original ARG Timeline

Kane Parsons’ “The Backrooms” horor short
Though the film takes place in 1990, the ARG’s timeline actually begins in 1996, with the original found footage upload and the ensuing research sparked by the video serving as sequels to the A24 production. Not only that, but film’s Still Life monsters (“misremembered” versions of real people who wandered into the rooms) appear to be precursors to the Lifeform from the series.
In the original videos, it’s speculated that the humanoid predator inhabiting the Complex is the result of a novel strain of hay bacillus forming a human-shaped colony, though the addition of the Still Life mythology may very well mean that the mutated hay bacillus itself is a Still Life reproduction of an existing bacteria that somehow fell into the Complex.
The film also offers us an interesting clue into the history of the Foundation when Mark Duplass’ Phil talks about how the company used to work with MRI machines. This seemingly innocuous origin for the secretive organization implies that the Complex itself might be the result of some advanced form of neural imaging – as if the Threshold is somehow opening a portal to the universe’s -or even God’s- subconscious mind.
Who is Naren Warne and Why is He Important to Backrooms Lore?

Async researches in “Backrooms” web series
One of the more direct connections between the film and the series happens to be Avan Jogia’s Naren Warne, an unfortunate Async Institute scientist who shows up in the movie’s found footage prologue. A now-deleted Discord post by Kane Parsons himself suggests that Warne was originally a part of the Missing Persons survey team that discovered a dead body taken over by “mold” (the aforementioned hay bacillus).
At some point during the expedition, Naren appears to have been separated from the rest of the team and wound up wandering alone in the Backrooms. The film opens with the desperate scientist’s VHS footage as he records his attempts to contact his superiors and is ultimately chased down by an unseen Lifeform.
While this prologue mostly serves to establish that the Backrooms contain more than empty hallways, it’s fun to see Parsons include a trail of breadcrumbs leading back to the lo-fi source material even when working on such a high-profile production.
Naturally, there are other curious connections to be found here, such as a faithful recreation of the original photo that spawned the Backrooms creepypasta in the first place, as well as audio cues harkening back to the various TikTok musical trends that often accompany liminal horror content.
However, half the fun of engaging with lore-heavy material comes from discussing theories with fellow fans, so I’d like to invite readers to comment below with your own favorite additions to the lore/references to the ARG! Just be sure to watch out for suspicious-looking furniture salesmen – especially if they’re dressed up like a pirate.

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