Night of the Living Dead (1990) Review

Given that director Tom Savini made his name as one of horror cinema’s premier make-up and gore effects artists, his remake of George A. Romero’s Night of the Living Dead (1968) is surprisingly restrained when it comes to splatter. Having contributed his gruesome talents to Romero’s Dawn of the Dead (1978), I was expecting considerably more bloodshed from Savini’s directorial debut. In that respect, the film is something of a disappointment. Some of the effects are also surprisingly ropey, with the dummy representing Barbara’s brother proving particularly unconvincing as his head strikes a gravestone. In another director’s hands, such shortcomings might be forgivable. Given Savini’s reputation, however, they’re rather harder to overlook.

These gripes aside, this Nineties reworking of the zombie apocalypse has enough inspired touches to make it a worthwhile companion to Romero’s original. The pacing is brisker, and I particularly like the decision to make the farmhouse the home of the young Tom rather than simply a property occupied by a conveniently deceased stranger. It gives the siege a slightly different dynamic, even if the film sacrifices much of the eerie, creeping tension that made the 1968 version so effective. In its place, we get considerably more screaming, much of which feels unnecessary. Sometimes silence really is golden, particularly when the dead are walking.

The climax also departs from the original, allowing Barbara to survive the ordeal without succumbing to the catatonic state that defined her earlier incarnation. Returning to the farmhouse, she discovers that Ben has become one of the undead and that Mr Cooper is still alive, although his continued existence is about to become rather less comfortable. The film also incorporates a sequence inspired by an idea considered for Romero’s original screenplay, depicting zombies hanging from a tree and being used for target practice. It’s a bleak, effective addition that reinforces the casual brutality of a world in which the living can be every bit as monstrous as the dead.

Another notable alteration involves Cooper’s zombified daughter, who chooses to bite her mother rather than dispatch her with a garden trowel. Savini provides a satisfying splash of gore involving the trowel, offering a visual nod to the original film, but the moment lacks the sheer horror of Romero’s infamous stabbing scene. There was something particularly disturbing about the original sequence, not least because the method of attack seemed so horribly incongruous with the creature committing it. Of course, the word ‘zombie’ remains conspicuously absent from the dialogue, as it was in the original.

The pivotal role of Ben went to Tony Todd, who beat out competition reportedly including Laurence Fishburne and Eriq La Salle, and who would subsequently become a horror icon thanks to Candyman (1992). Todd delivers a strong, assured performance, bringing a welcome authority to the role. Patricia Tallman’s Barbara, on the other hand, left me somewhat unconvinced. Her characterisation is frustratingly inconsistent, alternating between steely determination and a more traditional damsel-in-distress approach. One minute she’s channelling Ellen Ripley; the next, she’s screaming as though the entire apocalypse has come as something of a surprise. Given everything she endures, a little consistency would have gone a long way.

Ultimately, Savini’s Night of the Living Dead is an affectionate homage to Romero’s landmark horror film. It never comes close to matching the original’s atmosphere, social subtext or sustained sense of dread, and the shortcomings of some of the effects are particularly disappointing coming from a man of Savini’s considerable talents. Nevertheless, the faster pace, revised character dynamics and handful of worthwhile additions give the remake an identity of its own.

It may not dethrone the original, but it doesn’t disgrace it either. For fans of Romero’s classic, there are enough changes and surprises to make this return to the farmhouse worthwhile. The dead may walk again, but at least Savini gives them a slightly different route to follow.

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ZOMBIECON VOL. 1 (2024) Review

From director Kyle Valle (Journeyman) and co-written with stars Erin Áine (Class Act) and Manny Luke (Manny’s World of Colour), the blood splattered romp is a tribute to cosplayers and horror fiends alike. Following its acclaimed release in the US, ZombieCON Vol. 1 is set to land on UK digital 27 April 2026 thanks to Miracle Media.

Rocket (Luke), Claire (Áine), Punkie (Punkie Johnson – Bottoms, Saturday Night Live), and Javier (Christian Casillas – Bro’s) are on a high after winning the top prize at an LA comic convention for their showstopping cosplay…. But their victory is soon ruined when a run in with a bunch of bullies leaves an enraged Claire to declare her desire for ‘all the a**holes in the world’ to turn into zombies.

Mayhem ensues when her wish comes true and a zombie outbreak swarms the city. Now, the gang must use their home-made weapons and pop culture knowledge to race across town to save Rocket’s mother while trying to survive the zombie infested wasteland of their own making.

Blending anime-style fights, razor-sharp satire, a bucketload of blood and genre in-jokes, ZombieCON Vol. 1 celebrates the joy and community of fandom – with some flesh-eating undead creatures along the way.

ZombieCON Vol. 1 aspires to blend genre homage with character-driven comedy, evoking the spirit of films like Galaxy Quest, Shaun of the Dead, and The Goonies. However, while those films earned their enduring fanbases through sharp writing, charm, and narrative momentum, this effort struggles to capture the same vitality.

At the centre of the film is Rocket, a protagonist whose arc is intended to anchor the story but instead becomes its most taxing element. Much of the film’s considerable runtime is devoted to his persistent complaining, culminating in a predictable late-stage epiphany: he is not, in fact, a particularly good friend. The issue is not the familiarity of this arc, but the execution—Rocket remains difficult to empathise with, and the film never convincingly earns the audience’s investment in his growth.

Technical shortcomings further hinder the experience. The aural mix proves inconsistent, fluctuating between subdued dialogue and jarringly loud dramatic moments, making it difficult to settle into a comfortable viewing rhythm. Action sequences fare no better, often devolving into chaotic scenes of shouting and shoving, with excessive camera shake substituting for coherent choreography or purposeful editing. The lack of visual clarity diminishes any sense of tension or excitement.

Structurally, the film feels unfocused. Numerous ideas compete for attention without coalescing into a satisfying whole, resulting in a narrative that meanders across its near two-hour runtime. Redundant flashbacks—illustrating information already conveyed through dialogue—only add to the sense of bloat. Logical inconsistencies also undermine the premise: characters remain curiously insulated from the supposed chaos outside, raising questions about the believability of the film’s central scenario.

Even the climactic confrontation, which should provide a payoff to the film’s build-up, is undermined by overextended dialogue and the same muddled staging that plagues earlier scenes. Rather than delivering a memorable showdown, the sequence stalls in self-reflection, with Rocket verbalising sentiments the audience has already grasped.

Ultimately, ZombieCON Vol. 1 feels less like a cohesive zombie comedy and more like an overextended character study that never quite justifies its focus. The titular undead element is surprisingly underutilised, leaving one to wonder whether the film might have been better served by committing more fully to either its character drama or its genre premise. As it stands, it occupies an unsatisfying middle ground, lacking the energy and clarity needed to resonate.

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We Bury the Dead (2024) Review

After a catastrophic military disaster, the dead don’t just rise – they hunt. The military insists they are harmless and slow-moving, offering hope to grieving families. But when Ava (Daisy Ridley – Star Wars: The Force Awakens) enters a quarantine zone searching for her missing husband, she uncovers the horrifying truth: the undead are growing more violent, more relentless, and more dangerous with every passing hour.

Written and directed by Zak Hilditch (These Final Hours), We Bury the Dead has an interesting premise which it does not fully explored. After the gripping first thirty minutes or so, as we watch Ava gets to grips with the dead, We Bury the Dead takes a stumble and never recovers unsure as to where to place its footing next. This plays out like it is setting up characters and situations for a franchise rather than providing us with a complete story arc within one movie.

There is a poignancy to the moments where Ava sees wedding photos or other paraphernalia that hints at the life lived by the deceased and such moments helps elevate We Bury the Dead by reminding us that zombies were once living, breathing humans that were loved. Around the film’s midway mark, when a young soldier asks Ava to wear his dead wife’s clothing and dance with him, the film takes a turn for the queasy and feels tonally out of sorts with the melancholy vibe that permeates through the film’s earlier parts.

Anyone approaching We Bury the Dead expecting zombie mayhem will be left wanting. This is a mediation on death and about losing loved ones and consequently the zombies take a back seat.

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The Walking Dead: Daryl Dixon Season 3 (2025) Review

Acorn Media International is delighted to announce The Walking Dead: Daryl Dixon Season 3 and Seasons 1 – 3 Box Set will arrive on Blu-ray and DVD 8 December 2025, following its transmission on Sky Max, which starts tonight. All episodes will be available on digital from 6 December 2025.

Fan favourites Daryl Dixon (Norman Reedus – The Bikeriders, Blade II) and Carol Peletier (Melissa McBride – The Mist, The Happys) are back in The Walking Dead: Daryl Dixon Season 3. The highly acclaimed third series has been described as ‘bigger, badder and better than ever’ as the determined duo embark on a perilous journey across a fractured Europe overrun with the undead, in search of a way back home.

Season three sees some newcomers join the cast including Óscar Jaenada (The Losers, Pirates of the Caribbean: On Stranger Tides), Hugo Arbues (Past Lies) and Candela Saitta (Maxima) alongside British comedy favourite Stephen Merchant (The Office, Extras) in a show-stopping guest appearance.

We join Daryl and Carol amidst the devastating ruins of London, where they encounter Julian (Merchant), a reclusive survivor who believes he’s the last living man in England. When a desperate escape across the Channel ends in disaster, the pair end up shipwrecked on the Spanish coast and thrust into a volatile new world of survivors, zealots and hidden agendas.

As they navigate the sun-scorched landscapes and broken strongholds of post-apocalyptic Spain, they become entangled with a struggling community led by the principled Antonio (Eduardo Noriega – Open Your Eyes, The Last Stand) and fiercely independent Paz (Alexandra Masangkay – The Platform, Code Name: Emperor). Bound by loyalty, yet divided by conscience, Daryl and Carol must confront their own haunted pasts and decide whether to keep moving towards home or stay – in the hope that their displacement may finally have a purpose.

The third season of The Walking Dead: Daryl Dixon offers up the same mix as with the previous two seasons, a smattering of zombies and a massive dose of soap-like character drama. The visuals – such as a London overgrown with foliage – are well-realised but as a whole, for a non-fan like me there was still an imbalance in the mix, it is again too reliant on dull human drama rather than providing a steady balance between action and drab dialogue scenes.

There is absolutely nothing wrong with the performances or indeed how the whole production has been put together, it’s the storyline, pedestrian pacing and the lack of action that leaves me wanting. For avid fans however Season 3 will give them more of the same and that is exactly what they have signed up for, so they will not be left wanting, nor any convincing to add this release to their collection.

Reviews for Season 3 have been mixed overall and whilst some see it as the best to date and a return to form for the franchise other critics have been less enthusiastic quibbling about the season’s pacing issues and feeling frustrated by idiotic character decisions which, in my opinion, are contrived and a lazy way at extending something that ran out of juice a long-time ago. I liked the train sequence and will again praise the film’s visuals, but until such point as the writers feel the need to up their game rather than coasting, I remain a non-fan and bemused by its popularity.

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Tales of the Walking Dead (2022) Review

Set in the months and years following the outbreak, the series follows the unique lives of new and familiar survivors, each facing the undead world in their own way. We follow doomsday prepper Joe (Crews) as he leaves his bunker on a quest to find his online friend and meets an unlikely ally in Evie (Munn) as they embark on a road trip that helps them find what they are really looking for. There is a tale of two hostile co-workers (Posey and Bell) who try to escape Atlanta – and each other – but find themselves in a time loop, reliving the hours before their deaths over and over again. And the origin story of The Walking Dead character Alpha (Morton) is revealed when we meet her as a mother trying to protect her child Lydia in a refuge.

Other stories involve a settler (Liu), who seeks to convince a scientist (Edwards), that humanity must reclaim the land from the dead; a man (Usher) who wakes with no memory and is accused of murder and a traumatised couple (Pineda and Ramirez) who take refuge in a secluded house where terror may already lurk inside.

This collection of stories features an acclaimed ensemble cast including Terry Crews (Brooklyn Nine-Nine, The Expendables), Olivia Munn (The Newsroom, X-Men: Apocalypse), Parker Posey (The White Lotus, Dazed and Confused), Anthony Edwards (ER, Top Gun), Jessie T. Usher (The Boys, Smile), Danny Ramirez (Top Gun: Maverick, Captain America: Brave New World), Daniella Pineda (Jurassic World: Dominion), Jillian Bell (Workaholics, 22 Jump Street), Poppy Liu (Hacks) and Samantha Morton (The Serpent Queen, The Walking Dead), who each offer a different perspective into the apocalypse, capturing not just the monsters that roam the earth, but the ones that live within us.

Regular visitors to my site may be aware that I am not a fan of THE WALKING DEAD and its never-ending spin-off TV series. I find them lazy, generic, and offering little that would satiate a zombie/undead fan but instead much in the way of pedestrian interpersonal drama. TALES OF THE WALKING DEAD, yet another spin-off, bucks that trend. Admittedly it is still concerned with providing soap drama wrapped up in a zombie apocalyptic setting, but it also offers up individual tales involving different characters rather than the mainstays from the original series. It makes for a refreshing and very welcome anecdote to the otherwise anaemic and inexplicably popular norm.

There is more thought and more imagination at play here, there is one tale that takes the GROUNDHOUND DOG route of having the same scenario play out repeatedly and then there is a standout episode set aboard a riverboat overtaken by mutinous crew that stars the wonderful Samantha Morton returning to her role of Alpha (aka Dee). Overall, TALES OF THE WALKING DEAD still proves to be a mixed bag. Frontloaded with the better episodes and finishing with the two weakest this is by no means perfect, but it is infinitely more appealing that the self-important output that THE WALKING DEAD universe has vomited up for mass consumption to date.

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M: Beyond The Wasteland (2023) Review

Following its festival run, including at Grimmfest 2024, the award-winning Macedonian sci-fi, M: Beyond the Wasteland, is set to arrive on UK digital 10 November, courtesy of GrimmVision.

In a post-apocalyptic dystopia where zombies, known as the Evil Ones, have decimated human civilisation, a profoundly lonely boy, Marko (Matej Sivakov), lives in a secluded forest under the watchful eye of his overprotective and mysterious father (Sasko Kocev).

An encounter with Miko (Aleksandar Nichovski), a kind-hearted boy with Down syndrome, brings a glimmer of warmth and connection into Marko’s isolated world, as well as a new yearning to uncover the secrets that lie beyond the confines of the wilderness.

When a fateful turn of events grants him his wish sooner than expected, Marko’s journey becomes one of unknown dangers and, ultimately, a glimpse into a world forever changed.

M: BEYOND THE WASTELAND, the latest film from director Vardan Tozija (AMOK), aims to be a harrowing and heartbreaking post-apocalyptic fable but lacks the emotional oomph to make it so. Instead, we have a warm and fuzzy zombie-laden coming-of-age tale where two young lads hold hands and venture into the unknown but once the youngsters are on their way the film runs through half-baked ideas on the way to a rushed finish. There are elements of A QUIET PLACE, THE GIRL WITH ALL THE GIFTS, THE LAST OF US, and THE ROAD in the mix so it never feels like its offering up anything unique even if does present us with a slightly more twee zombie flick to the norm.

On digital 10 November from GrimmVision

TRAILER

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Forgive Us All (2025) Review

In a post-apocalyptic world, where a biotech virus has transformed humans into violent cannibals, a survivor hides in an isolated cabin. But when a stranger arrives with a story of hope, she must choose whether to stay or escape through a zombie-infested forest.

Directed and co-written by Jordana Stott, the film stars Lily Sullivan (EVIL DEAD RISE), Callan Mulvey (THE GRAY MAN), and Richard Roxburgh (VAN HELSING). The film was shot entirely in Queenstown, New Zealand, with a production budget of $10m.

FORGIVE US ALL is a western that trips over into the realms of horror with an impressive zombie-heavy finale. I enjoyed the performances, and I liked the setting, it presents an expectedly very picturesque slice of the New Zealand landscape, and I also thoroughly enjoyed the zombie (referred to here as ‘howlers’) mayhem that finishes the film. Before then though it meanders a little, lacks focus and plays out like a soft uninvolving drama, and it is yet another in a recent trend, a film that pontificates on losing loved ones.

Watch trailer here:

Forgive Us All will have its UK premiere at genre-festival Grimmfest in Manchester on 11th October.

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The Walking Dead: Dead City Season 2 (2025) Review

THE UNDEAD are back, and this time they’re not the only ones raising hell in Manhattan, as THE WALKING DEAD: DEAD CITY returns for a gritty, gore-filled journey into the heart of post-apocalyptic New York with fan favourites Jeffrey Dean Morgan (WATCHMEN, SUPERNATURAL, THE BOYS) as Negan and Lauren Cohan (THE BOY, THE VAMPIRE DIARIES) as Maggie at the helm. The second season plunges us deeper into the twisted relationship between the battle worn pair, as they navigate a city crawling not just with walkers but power-hungry enemies both old and new.

Picking up where the action-packed first season left off, we see our uneasy allies thrown into opposite sides of a brutal turf war that threatens to consume what is left of civilisation. New alliances are formed, and old loyalties are tested as the shadowy New Babylon Federation steps in, bringing with it a whole new set of dangers and political intrigue. With factions at war, vicious new enemies emerging and the walkers more ruthless than ever, Maggie (Cohan) and Negan (Morgan) must decide whether survival means standing together… or apart.

After the resounding success of the first season and hot on the heels of its transmission on Sky Max, THE WALKING DEAD: DEAD CITY SEASON 2 arrives on Blu-ray, DVD and digital on 29 September 2025, alongside the Seasons 1 & 2 Box Set, courtesy of Acorn Media International. THE WALKING DEAD: DEAD CITY SEASON 2 Blu-ray and DVD also feature a fantastic reversible sleeve making it the perfect addition to any fan’s collection.

To those amongst you that are regular visitors to this site will know, I am not a fan of THE WALKING DEAD nor any of its number of spin-offs. As much as I would like to like them, after all they are all apocalyptic in tone and very occasionally have zombies shuffling around, I find myself quickly losing interest when watching as regardless of the set-up it is essentially a soap opera with what little plot narrative there is bolstered up by unlikeable people switching allegiances and bickering amongst themselves.

THE WALKING DEAD: DEAD CITY SEASON 2 is no different to the rest. Each WALKING DEAD season starts strong, misleading me into thinking that things will be better this time, before bogging things down quickly with near lifeless dialogue and direction, even the actors look bored. And then as the season draws to a close it ramps things up a gear again with a promise, that will remain unfulfilled, that things will be different next time around.

I live in hope that they will be but based on current form, I know that it will not. Shame, as each episode’s opening credit sequence has undead featuring in nearly every image, if only they were more present in the actual episode itself then perhaps more undead will make THE WALKING DEAD feel more alive.

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Zombie Flesh Eaters (1979) Arrow Player Review

From the dark imagination of horror genius Lucio Fulci (THE HOUSE BY THE CEMETARY, CITY OF THE LIVING DEAD), ZOMBIE FLESH EATERS still has the power to shock and offend the unwilling. Streaming on ARROW this month, get a taste of the film that once ushered in a moral panic by requesting your screener link now!

An abandoned boat in New York Harbour unleashes a dead flesh-crazed Zombie cargo… A young American woman and a journalist investigate a tropical island where a deadly disease is making the dead walk… Soon, thoughts of finding the underlying cause of the murderous curse will be forgotten, as Fulci’s walking corpses overwhelm the living and reports come in that the Big Apple is swarming with the living dead…

Google Search for ZOMBIE FLESH EATERS on-line and you’ll read genre fan boys rattling on about how terrific director Lucio Fulci’s gore flick is, raving about the terrific make-up effects and, the revered zombie shark attack and previously censored splinter in the eye sequence. The same fans admit that the plotting, dialogue and acting, are all variable. Perhaps purely because of nostalgia and the movie’s notoriety for being a Video Nasty in the UK Fulci’s film has attained classic status within the genre.

As with most Italian cinematic fare ZOMBIE FLESH EATERS (or ZOMBI 2 as it was known in many territories) was made to cash in on a current/recent success. In this circumstance the makers looked to capitalise on the terrific worldwide box office success of Romero’s original DAWN OF THE DEAD. DAWN OF THE DEAD had been released in many territories under the title ZOMBI, so it made sense to entitle Fulci’s film ZOMBI 2, even though it is not connected to the original. Subsequently, due to the association to Romero’s classic film, ZOMBIE FLESH EATERS did huge financial business, making a name for Fulci, as a genre director, in the process.

The film kick-started the Italian film industry towards making more horror films, with the likes of ZOMBIE CREEPING FLESH, and various loose sequels to ZOMBIE FLESH EATERS cashing in and flooding the international market. Fulci capitalised on the goodwill afforded him by ZOMBIE FLESH EATERS’ success by churning out increasingly more absurd, but arguably more appealing, flicks THE BEYOND and HOUSE BY THE CEMETERY.

The film’s original 1979 UK cinema release was awarded an ‘X’ rating (which for any youngsters reading is the same as an ‘18’ rating in terms of what it stands for but always looked better on a poster) with a couple of minutes trimmed. However, following the advent of the home video market boom in the early 1980’s, ZOMBIE FLESH EATERS was considered unfit for our consumption and banned by the UK government as a ‘video nasty’. The distributors had not only released on retail the BBFC approved cinema version, but also the uncut version, which had not been certified (showing the throat torn and eye puncturing that the censors didn’t deem fit for theatrical release). The distributors were prosecuted under the “Obscene Publications Act.” It was also banned in several other countries and was not released uncut in the UK until 2005.

If I read ONE more piece about ZOMBIE FLESH EATERS that can’t talk about how great the film is WITHOUT mentioning THAT eye-gouging scene, I’m likely to do the same to my own. YES, the scene is well done and YES it still looks and plays fabulously more than three decades later, however the scene’s classic status has been earned solely by irking the tender censors of the time, otherwise surely the scene would be revered in the same way that ALIEN’s chest-burster scene, PSYCHO’s shower scene or even SCANNERS’ startling exploding head moment. It isn’t, as there is nothing else to it really, except that it appeals to the gore hound in us.

Anyhow, and without further ado, here’s the plot. The film opens with an apparently deserted yacht sailing into New York’s harbour. When two coastguards board the vessel, a large ass zombie munches on one of them before being shot by the other and falling into the water. Soon police are all over the yacht and trace the boat’s ownership to Anna Bowles’s (Tisa Farrow) father (Ugo Bologna).

Naturally concerned that something awful may have befallen her Dad, Anna ends up teaming up with Ian McCulloch’s reporter Peter West. They soon discover that Dad was assisting a certain Dr Menard (Richard Johnson from the original THE HAUNTING), a famous scientist, on the Caribbean Island of Matul.

With the go ahead from his newspaper, West takes Anna along with him to Matul, however they soon find out getting there is easier said than done. Many locals tend to avoid the location, fearing it to be cursed. Rather than that being the end of their journey, and our film, West and Anna find an American couple Brian Hull (Al Cliver) and Susan Barrett (Auretta Gay) who agree to take them to the island. Upon reaching their destination the foursome find their selves in a world of hurt and their host, Dr Menard, is desperately searching for the cause and a cure for a zombie outbreak on the island.

Before our characters reach the unsafe shores of Matul, Fulci throws in a unique episode that will appeal both to fans of shapely topless ladies and absurd zombie-faceoff’s. Susan Barrett goes for a topless underwater swim and has a near escape from not only a shark, but also a zombie that thinks nothing of grappling with said shark for a quick bite to eat. Ramón Bravo, the shark’s trainer, explains that the reason for why he was so comfortable appearing with a tiger shark was that the shark had been drugged. It’s not difficult to see why the scene is a fan favourite.

Whereas Romero’s zombies were just extras with dark eye make-up wearing near perfect clothing, Fulci’s zombies (courtesy of renowned make-up effects genius Giannetto De Rossi) give you the impression that they’ve risen from the grave with skull-like visages and maggots adorning them. Gianatto Di Rossi’s zombies are divine; looking more as zombies should be rather than Romero’s tidy and maggot-free creations. If given the choice to die at the hands of Romero’s blue/grey creations, or Di Rossi’s frighteningly skull-like zombies, I’d feel more comfortable with Romero’s. Di Rossi’s look authentic, which is even more impressive considering that the tight budget and time constraints under which he was working.

ZOMBIE FLESH EATERS is not perfect, but it IS fun; trashy dubbing adding to its dubious charm. It lacks the serious tone that permeates the Romero zombie flicks, aiming instead for cheap thrills and still grim gore. It’s a guilty pleasure that harkens back to an age when filmmakers didn’t feel the need to argue that the bloodshed on-screen was intended as a political subtext, with ZOMBIE FLESH EATERS it was there to appeal to your baser instincts, and more importantly, your wallet and made no apology for doing so. As awkward and cumbersome as its shuffling undead, ZOMBIE FLESH EATERS is a delight from start-to-finish. Enjoy!

Zombie Flesh Eaters is available to stream on ARROW from 28th July.

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Die Alone (2024) Review

In a post-apocalyptic world, a young man must join forces with hardened survivalists during a zombie outbreak.

Directed by Lowell Dean (WOLFCOP), and starring Carrie-Anne Moss (THE MATRIX franchise, MEMENTO), Douglas Smith (TERMINATOR GENISYS, DON’T WORRY DARLING) and Frank Grillo (CAPTAIN AMERICA, THE PURGE: ANARCHY), DIE ALONE is that rare beast, it is a film that takes an overfamiliar genre – in this case the overpopulated zombie genre – and gives it a MEMENTO-style twist (which perhaps explains the casting of one of that film’s stars Carrie-Anne Moss).

Trivia fans may be interested to know that the script for DIE ALONE was written before the release of WOLFCOP but was unable to obtain financing at the time. DIE ALONE is a love story albeit a love story set in an apocalyptic future in the middle of nowhere. Lowell Dean delivers the goods, something he failed to do when attempting to make a comedy-horror, with 2014’s cult hit WOLFCOP, making DIE ALONE an unexpected treat that packs an unexpected emotional wallop come the film’s climax.

Watch the trailer here:

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