Three friends—a failed medical student named Bill Johnson, a geeky mathematician named Max Giggs, and a discredited ex-wrestling champion named John West—suddenly learn that zombies are overrunning their small Argentinean suburb. These are not your typical living dead, however. They are smarter, cleverer, and apparently controlled by forces beyond an inherent urge to kill and eat flesh. Hoping to escape, they discover that the FBI has quarantined the city, locking them in with the uncontrollable undead. While battling for their lives and looking for a means out of harm’s way, they run into an injured agent with a secret map. If they can decode the floppy disk and learn the route, they are saved. But it will take more than computing skills to win the day. Our pals are smack dab in the heart of the Plaga Zombie: Mutant Zone, and in this terrifying domain, it’s kill or be killed.
Here it is, all you home-movie hopefuls—100 percent proof positive that epic entertainment can be crafted out of a camcorder, a cast and crew of friends, and a great deal of cinematic creativity. This bravado brainchild of Argentinean auteurs Pablo Parés and Hernán Sáez is like watching Peter Jackson’s private personal video experiments, or Sam Raimi’s first forays into Evil Dead-based fright. Consisting of two installments in a proposed trilogy, Plaga Zombie (“Zombie Plague”) and its sensational sequel, Plaga Zombie: Mutant Zone, these movies represent the height of auspicious outsider moviemaking. Within a total combined running time of nearly three hours, we are introduced to a sensational selection of instantly memorable characters, transported into a completely believable parallel universe where zombies rule the streets, and witness to filmmaking expertise so skillful and wise that you’d never imagine it was the effort of able-bodied amateurs.
In a pair of films loaded with amazing moments, there are several that shine above others. Our fallen hero, wrestler John West, shows off his insane collection of self-promotion memorabilia (including a catchy sing-along theme) that predates the similarly styled Toy Story II sequence. Zombies pretend to be ninjas, rappers, and players in a pretty mean game of Texas Hold-em. Max rips the arm off a corpse and uses it like a martial arts weapon, while Bill employs a long strand of intestines—complete with perfunctory farting noises—to keep his adversaries at bay. There are swipes from Back to the Future, The Matrix, and even the post-9/11 war on terror. And then there are the fight scenes—one remarkably well done, expertly choreographed, and stunningly filmed/edited sequence after another of friend vs. fiend fisticuffs that challenge, and even surpass, the efforts of bigger budgeted films. One of the major problems homemade movies have, especially when it comes to action, is the creation of credible controlled chaos. The usual result of an amateur stunt sequence is underdeveloped, static motion that looks like obese octogenarians swing dancing. But here, a combination of filmmaking joy and dogged determination results in a truly blazon battle royale. You can actually feel your pulse start to race the minute John, Bill, and Max step up to take on another unruly horde of the living dead.
Gore hounds will also get their red stuff rocks off over and over again during this dizzying display of no-budget effects. Heads split, guts spill, limbs crack open and ooze, and buckets of blood battle with barrels of bile for slime supremacy. There are more decapitations, eviscerations, and discombobulations in this film than in a dozen direct-to-video vomitoriums. The closest comparison to the claret carnage and pus pandemonium included here is the similar stage grue grandstanding in Peter Jackson’s non-hobbit epics Bad Taste and Dead Alive. Certainly, some of the effects are substandard and look like they were conceived and created on the spot with poster paint and bird feces, but when inserted into this amalgamation of action, sci-fi, and slapstick, the result is a completely entertaining flesh feast, a film that becomes its own mythos and its own legitimate horror legacy. Like watching how Sam Raimi reinvented the demonic possession film to conform to his own inner aesthetic of excitement and originality, the gang at FASCA Producciones have taken the undead genre and removed all the social commentary and realistic validation. Instead, Plaga Zombie: Mutant Zone (along with the original film) becomes a new manner of monster movie, a showcase of fright film forged out of fandom, devotion, and a true fascination with the motion picture macabre that came before.
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// Moving Pixels
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