We Are Zombies (FANTASTIC) is Goofy, Goopy Zombie Fun
Title: We Are Zombies
First Non-Festival Release: TBD
Director: François Simard, Anouk Whissell, Yoann-Karl Whissell
Writer: Jerry Frissen, François Simard, Anouk Whissell, Yoann-Karl Whissell
Runtime: 80 Minutes
Starring: Alexandre Nachi, Derek Johns, Megan Peta Hill
Where to Watch: Check out where to find it here
This film’s review was written after its screening at the Fantastic Film Festival in 2023.
What if turning into a zombie didn’t necessarily entail a death sentence? Sure, some baser instincts might be more prominent, but a fulfilling life can still await you after rebirth from death.
At least, that is what the Coleman Corporation promises. The reality is grimmer, with the undead working fast-food jobs and being rounded up into luxury “retirement homes.” Slackers/losers Karl (Alexandre Nachi) and Freddy (Derek Johns), along with Karl’s sister Maggie (Megan Peta Hill) run a scam off the Coleman Corporation to make a living. Their hastily strung together life falls apart when their schemes skim off too much from the bottom line of the company.
Saccharine slacker zombie comedy, We Are Zombies delivers mild amusement alongside its satiric reimagining of society.
As zombie media has progressed through the years, more attempts are made at pushing the subgenre’s boundaries further. Already, many have posited alternative societies that integrate the ‘living impaired’ in various capacities, most often as sole adversaries. Imagining a world where zombies and humans coexist may be a hard concept for some, but the RKSS team craft an entertaining narrative, nonetheless. Strong worldbuilding within the first few minutes establishes the answers to many questions audience members would likely have when introduced to the concept. RKSS takes this a step further by delving into the implications of this world.
Taking jabs at faceless pharmaceutical companies and their pursuit for wealth over the interests of people, We Are Zombies uses its second-class zombie citizens as a catch all for any marginalized group affected by corporate greed. Squeezed for cash, the protagonist’s main source of income involves stealing recently turned zombies by pretending to be workers collecting the ‘living impaired’ to ship them off to a retirement facility. Instead, they sell them to a millionaire who uses them as fixtures in his art exhibit. Critiquing both the arts and sciences, and how they literally use people and their labor for profit, We Are Zombies reminds audiences to be cautious of those who claim ethical considerations when doing business.
A zombie comedy is nothing without its jokes, and unfortunately for We Are Zombies many fail to land. Focusing more on slacker hijinks than the humor in a zombie commodified society, We Are Zombies only finds the humor in the answer to the burning question of “what if zombies had OnlyFans?” Between been-there, done-that gags and a myriad of ill-timed or hastily written jokes, the humor gets lost in the plot, which becomes more interesting than any of the characters it follows. While it never wavers from its light-hearted tone, the uneven writing makes for some deflating moments, especially when the action escalates.
While the cast look to be enjoying themselves, their chemistry leaves much to be desired, especially when the film hits lulls between scenes. Much of the comedy falls on the leads Alexandre Nachi, Derek Johns, and Megan Peta Hill. Unfortunately, both the writing and chemistry between the stars fall flat. Oftentimes, the comedy is meant to come to life from creepy behavior from the men, be it Karl’s bizarre fascination with undead porn stars or Freddy’s unrequited love for Maggie. Both Nachi and Johns do their best to make the material believable while giving weight to their characters, but the dynamics don’t work. Further, Hill’s Maggie feels very distant from the rest of the gang. The choice could be intentional as Maggie is clearly the brains of the operation, but even she falls victim to static development, not having much to do than scold the two boys for being weird, dumb, or lazy.
An entertaining enough jaunt into zombie politics, We Are Zombies does a fine job of worldbuilding to deliver some searing commentary on the dangers of unfettered capitalism. Strong special effects and an occasional hilarious joke help break the tension whenever the characters get too complacent. Stymied only by its jarring dialogue and iffy performances, there’s still enough fun left in the gallery of horrors by the time it reaches its bloody finale. The ‘living impaired’ may not be clamoring for this type of representation, but We Are Zombies does enough to earn it.
Overall Score? 6/10
