Zombies are not an inherently exciting prospect. The dead coming back would be a tragedy, like this movie. Our Handling the Undead review:
, the patriarch of a family funeral home business dies and his subsequently attended to by his son. All the undertaker’s embellishments that have become routine for the younger mortician—the embalming, the cossetting, the dressing of the corpses—are suddenly harrowing and inhumane. The disguises one puts on death to soothe the bereaved become perverse and transparent when you know all the tricks.
A grandfather and mother care for a young boy whose distended belly and unseeing eyes punish their affections. An elderly woman jabbers away about her garden to her wife who walked back from her funeral. A comedian and his children ride an emotional roller coaster when his wife doesn’t stay dead after a car accident.
Each group is shot in strict compositions defined by straight lines, voyeuristic angles and obscured frames. Architecture often takes priority over humanity. The apartments and homes take precedence over the pain they house. A massive church mural leaps from the screen while the actual undead nearly fade into the background.
Even the inciting moment of magic is beautifully captured in mundane details: A buzzing coil whine drones on while all the car alarms in a parking lot jolt to life at once. A ceiling fan crashes onto a table. It’s still supernatural, but you can feel it in the familiar lights and sounds. In this same way, we can understand the zombies of. They’re less like the rampaging killers we watch a kid mow down in a video game and more like staring too long at an open casket.
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