Ancient Greeks and modern life meets zombies in a timeywimey action horror. Sounds like a laugh, right? Wrong.

An ancient evil is released (don't ask how - the movie doesn't say), and a handful of survivors must hole up against a gargantuan zombie horde. The streets are deserted, other than the pockets of very fast-on-their-feet zombies. It's like 28 Days Later, but with better gore effects and an even weaker story.
This is almost certainly the goriest film you will see this year. Each of our main characters is introduced by a swift dousing in stage blood - think Noel Edmonds and the gunge tank in slow-motion. Start as you mean to go on, I guess. The messiness doesn't stop at the ceaselessly inventive Savini-shaming effects - the script is shockingly incoherent.

Evil In The Time Of Heroes feels like a manic storyteller who won't shut the hell up when he's whizzing off on a tangent, and knows nothing about storytelling ebbs and flows. Characterisation is minimal, the storytelling rushed and undercooked, dishing out (actual) Deus Ex Machinas - spouting "WTFs" when it should be inspiring "Woah!" There's a couple of good giggles - the before/after shots of a football stadium zombie attack have the rhythm of a well-told joke.

In definitely the coolest cameo of the year, Billy Zane does his best Time Lord meets warrior monk impression - "Like a Jedi? You know, Luke Skywalker". And admittedly, the filmmakers do their best to make him look awesomely cool. His scenes don't make a lick of sense, and often take on the appearance of a really bad LSD trip.

There's a dozen reasonable ideas, none of which are developed into fruition - especially the time-travel stuff. A bit of a waste, really. The script is a collection of a movie-loving fool's mad ravings. The movie is highly competent in the technical aspects, and is well-shot. It falls down towards the end, where shakycam upturned what was left of my stomach.

There's a strange lack of emotion in the affair. No fear, no big laughs, no social satire - if it had held on a couple of months, perhaps the story could have leached some timeliness from the economic situation in Greece's near-bankrupt government. You know, zombies being used for what they usually are - a satirical infection to be purged, preferably with fire.

A wasted chance, but hopefully it'll lead to more interesting and coherent things for all involved.


Jun. 18th, 2010 02:28 pm

Outcast is a strange concoction of occult fantasy and social drama - think Ken Loach meets Angel Heart and you're on the right track. An Irish woman, Mary (Kate Dickie) and her teenage son, Fergal (Niall Bruton) move to a lower-class council estate somewhere in "Bonnie Scotland, Lothian" and try to settle down. They are being chased by a pair of hunters, Cathal (James Nesbitt) and Liam (Ciarán McMenamin) - sworn to rid the world of a beast which is following Mary and Fergal. Their next door neighbour Petronella - a Scottish/Romanian girl saddled with a mentally-challenged tank of a brother and an alcoholic mother - catches Fergal off-guard and they start a too-good-to-be-true relationship. In the sidelines, very bad things are happening to innocent people (Doctor Who's current assistant - Karen Gillan turns up as Dead Teenager #1), and pain-in-the-backside social workers.

Performances in Outcast are almost uniformly very strong. The magnificent Kate Dickie is quite simply incapable of giving a bad performance and her Mary is a screen-commanding creation: an intense, stony and full-on sorceress, unrepentantly vicious when her back is in the corner. James Nesbitt as Cathal is a crawling, brutally insane nightmare of a man, both blessed and doubly drunk with booze and supernatural powers, sporting a "shiny new skin". Hanna Stanbridge as Petronella, is less impressive, the various fast and tough choices that she must make within the story are mishandled. It's a fine debut, however, and the camera loves her. The main cast make a marvellous ensemble - every quality performance illuminating a world beyond the one portrayed in the there and then. Sadly, most of the rest of the cast has been drawn from central casting, and let the side down - even if it's just for a few minutes.

Director Colm McCarthy knows his genre - and how to provide a fresh sting in the tale. The script astutely blends Celtic folklore, creepy occult sorcery and strong social drama into a strange, and rather original fusion. All of this clever worldbuilding nonsense is given good shift by the excellent - Sylvain Chomet (The Illusionist) knows how to make Edinburgh look achingly beautiful? McCarthy and his excellent director of photography Darran Tiernan make it look like a great gothic dungeon. Additionally, the sound design is superior and adds immeasurably to the atmosphere.

McCarthy divines his strongest suit in the movie early on, the unrepentant vein of voracious carnality that drives the chased and the hunters. Two of the film's best scenes are quite simply well-edited sequence of bodies. Fergal and Petronella's bodies are cross-cut, dreaming of one another in the dead of night, and in tender solo masturbation. The other is Mary and Cathal locked in a naked psychic conflict - heavy breathing and howling for enraged one-upmanship.

For much of its runtime, Outcast may be the best British horror film since The Descent, and keeps hearts in the right place - our throats. Occasional breaks in its verisimilitude (such as the aforementioned crummy side-cast) and a rather bog-standard monster movie finale keep it from top marks. That being said, it's a wonderful calling card for a feature debut, and I look forward to more in the future.



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