12/11/2022 0 Comments Wyrmwood road of the dead cast![]() "Good Old-Fashioned, Body-Chomping, Head-Shooting Zombie Action" – Screen Daily It crosses the aesthetics of Mad Max with zombies, making for a lacklustre romp that might entertain the diehard zombie aficionados, but bore anyone who is interested in a strong plot or genuine intrigue."Zombie Freaks And Fanatics … You've Just Stumbled Upon Your Favorite Film." – Fangoria Quality zombie films display social commentary and/or evoke tense, unnerving atmospheres, as the principal cast becomes increasingly desperate and endangered. While the epileptic visuals of Boyle and Garland’s 28 series worked in tandem with their brand of the ‘infected’, here a similar aesthetic feels amateurish and hockey, lacking the atmosphere of these superior films. The editing and camerawork are choppy and frenetic, appealing to the gore-hounds-with-attention-deficits faction. ![]() Technically, the film is frustrating, too. Barry shouting ‘let’s do this!’ a countless times irritates more than it entertains. In an era of internet-speak, memes are repeated ad nauseam. The acting is cartoonish, draining Wyrmwood of any dramatic depth. ![]() The film stretches its paltry plot across almost 2 hours, fizzing out long before the anti-climatic finale. This is techno-cultural ‘saudades’, the paradoxical Portuguese word for a nostalgic longing never directly experienced to begin with. Xer’s sense of time and belonging is virtually constructed by the proximity of cultural artefacts belonging to a past that didn’t include them. The accessibility of the past, presently, means generation-x expects zombie films to carry the hallmarks of the apocalyptic cannon. Instead, the film plays out as a continuous montage of burning, shooting and hacking gore galore.įor millennials, whose earliest memories of the 80s are vivid nostalgia, Wyrmwood is tediously rote, a patch worked rehashing of Henry Miller and Peter Jackson’s earlier work. Later on there are scant hints regarding the film world’s bigger picture, yet they’re quickly circumvented. Unaffected survivors of a specific blood type fight to survive, while the main character, Barry ( Jay Gallagher) searches for his sister after tragedy strikes his family. Zombies (strangely) run riot in large groups through the sparsely populated Australian heartland. The Australian zombie film, Wyrmwood, operates at this primal level, but answers none of the questions its premise raises, nor poses any. Zombie films straddle the line between human ruin and a violent mode of survival, making them a cathartic conduit for the audience’s unconscious preoccupations with death and unresolved aggression. Zombie horror is Libertarian fantasy: after a failure by one government agency or another, further errors are made by its military and techno-scientific divisions. The intensity of apocalyptic fear intersperses with the desire to become an arbiter, a vigilante. The audience invests in when, and if, balance can be restored. Zombies say no to entropy, confusing survivors who delay the headshot (they’re still… family!). Where does this trend get its animus? Killing what is already dead is acceptable, a duty even. Ravenously – usually uncritically – generation-x mimics the unblinking materialism George Romero was critiquing in Dawn of The Dead. ![]() There’s something sinisterly ironic about the consumption of zombie flicks.
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