The Walking Dead single-handedly revitalized the zombie subgenre of horror in the 2010s, but since then, many of them have felt a bit copy and paste. Rarely do we see a post-apocalyptic story that either changes the game, or feels different enough from what came before to leave its own unique stamp. Enter: We Bury the Dead, a compelling Australian production from writer/director Zak Hilditch. A more character-focused zombie flick than the usual, seasoned genre vets Daisy Ridley (Star Wars, Murder on the Orient Express) and Brenton Thwaites (Oculus, The Signal) help to ground the action with their believable dynamic. Singular in perspective and intriguing in story, We Bury the Dead may not revive an undead genre, but it does make the case for further resurrection.
A Tasmania-specific event kills 500,000 people in an instant, but it comes with a caveat. Some of these folks are coming back to life, allegedly just “docile and slow-moving.” Ava (Ridley), a physical therapist, joins a body retrieval unit in the hopes that she can eventually locate her missing husband, Mitch (Matt Whelan, Narcos). In suave, grizzled prettyboy Clay (Thwaites), Ava sees an opportunity. The duo flee on a stolen motorcycle together, off into the forbidden, quarantined area that is supposedly still burning. They quickly discover that the military has much to hide in regards to these shambling corpses.
It must be stated that We Bury the Dead is not a particularly fast-paced, thrilling venture. Although there are bursts of gore and the occasional zombie chase sequence, Hilditch mainly forgoes any type of survival horror by instead honing in on Ava and her experience. Ava continues to revisit memories and intimate moments with Mitch, whilst he remains just out of her reach. Daisy Ridley plays the desperate, deeply emotional Ava with similar gravitas to her turn as Rey in her three Star Wars movies. Ava is the film’s emotional centerpiece. On the flip side, hippie-ish Clay makes a perfect foil. Rather than a cynical opposite to Ava’s eternal optimism, Clay’s realism and willingness to embrace whatever comes their way makes him an excellent fit for Thwaites.
As far as the zombies are concerned, they are properly freaky. The undead generally look singed, with heavy grinding of teeth and jaw for that extra touch. These zombies are a supplement rather than a prime ingredient. Thankfully, they do look impressive for a lower budget feature. How refreshing that “another zombie movie” constantly attempts to rise above its horror-heavy trappings for a thematic throughline about grief and forgiveness. In each other, Ava and Clay discover a kinship that bonds them despite their harsh circumstances. A couple dead ends in its narrative still do not lessen the impact of this engaging apocalyptic indie.
Grab the shovel as We Bury the Dead, hopeful for a better tomorrow when it debuts exclusively in theaters nationwide on Friday, January 2nd.
