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Now streaming on: Activists set lab animals free from their cages--only to learn, too late, that they're infected with a "rage" virus that turns them into frothing, savage killers. Like the Rana Plaza factory collapse in Bangladesh, or the murders of George Floyd, Breonna Taylor, or thousands of others at the hands of police in the US, they are as devalued in death as they were in life. And then... see for yourself. Workers are not zombies, of course. The horde is at the gates. Selena becomes the dominant member of the group, the toughest and least sentimental, enforcing a hard-boiled survivalist line. Pitt plays a former United Nations investigator who agrees to make his way through the infected landscape to find the source of the outbreak and hopefully a cure before everyone falls to the pandemic. The officer in charge. Like the protagonist at the start of 28 days laterale. As fear and illness slowly grip Venice, the protagonist's obsession pulls him closer and closer toward death. The films deliver moral lessons about solidarity and self-sacrifice, but only through individualized and microscopic examples; the great and growing mass of others is excluded.
Train to Busan is one of the best of a lot of things: one of the best zombie movies ever, one of the best outbreak movies ever, one of the best action movies of the 21st century, and one of the best movies that's mostly set on a train. Panic in the Streets. It's a roaring, rock-and-roll zombie movie that gets even weirder when the sister falls into the hands of a twisted scientist who loves dancing to disco music. Like the protagonist at the start of 28 days late night. Many other workers have already been cast aside: over 42 million people in the US have lost their jobs, and they have lost their employer-based health care coverage if they had it to begin with. From COVID-19 to killer cops to climate change, morbid symptoms abound.
Nicholas Hoult plays an undead guy named R who is tired of his tedious life of shambling around, but everything changes when he thinks he's fallen for a living girl (Teresa Palmer). In such movies, the directors ask us to grow emotionally attached to the central protagonist's efforts to survive, to save those close to him (and it is usually a "him"), and very often to save the world, too. The Last Man on Earth. The strength of Pontypool is its limited scope. In that spirit, Vulture has assembled a list of contagion movies you can watch to either ease your worries or willfully exacerbate them, broken down by category for ease of use: Classic Contagion. When she pierces people with her stinger, they become blood-hungry, zombie-like monsters, and the medical facility where she's being cared for soon becomes a hunting ground. Alex Garland's screenplay develops characters who seem to have a reality apart from their role in the plot--whose personalities help decide what they do, and why. Over the course of the the three Maze Runner films, you'll meet your cast of young heroes trying to change the world, a massive shady conglomerate known as WCKD that seems to be at the center of everything bad that is happening, and you'll go into the global wasteland known as The Scorch. The reactionary #Reopen protests of this spring aimed to put workers squarely back in their place. I can understand why Boyle avoided having everyone dead at the end, but I wish he'd had the nerve that John Sayles showed in "Limbo" with his open ending. This was the first of Ford's films to be nominated for Best Picture. It is telling that such power only features as a diseased and destructive force in our films.
A crisis — from the Greek root krísis, meaning a decisive turning point in a disease resulting in either recovery or death — is upon us. Were beyond deceptive: these protestors were not seeking liberation, but rather license to decide that others should die so that they might be served. Director Danny Boyle ("Train-spotting") shoots on video to give his film an immediate, documentary feel, and also no doubt to make it affordable; a more expensive film would have had more standard action heroes, and less time to develop the quirky characters. What makes someone an "other"? Much of the film is shot in night vision, helping you to feel even more immersed in the horrors leaping from the shadows. But since he saved himself with an experimental vaccine treatment, he might be able to cure others if he finds more healthy survivors. That 20-second limit serves three valuable story purposes: (a) It has us counting "12... 11... 10" in our minds at one crucial moment; (b) it eliminates the standard story device where a character can keep his infection secret; and (c) it requires the quick elimination of characters we like, dramatizing the merciless nature of the plague. It Stains The Sands Red. In the overwhelming and seemingly-uncontrollable tumult of events in these movies, the crowd should not expect to survive; there is only room in the future for a select few. But as their lack of safety protections and high infection rates show, their lives are not granted the same status. This involves an extremely improbable sequence in which the taxi seems abler to climb over gridlocked cars in a tunnel, and another scene in which a wave of countless rats flees from zombies. When a doctor's mistake leads to dire consequences for a patient, a strange illness starts afflicting the medical staff who helped cover it up.
It's gross-out horror. The plot exudes a distinctly Musk-y odor: the masses are saved by a small group of technocrats who drill down into the core and reboot it with nuclear bombs. This is an exploitation movie, so of course a scrappy band of survivors has to hightail it out of town amidst explosions, bloody deaths, and an abundance of pulp dialogue. I think the movie's answer to this objection is that the "rage virus" did not evolve in the usual way, but was created through genetic manipulation in the Cambridge laboratory where the story begins. Marx once observed that the tradition of dead generations weighs like a nightmare on the brains of the living — and in many zombie movies, they gnaw on those brains, too.