Director: Conor McMahon
Cast: Marian Araujo, David Muyllaert, Eoin Whelan, David Ryan, Amy Redmond
Writer: Conor McMahon
Length: 78 '
Production: Ireland
Year: 2004
Following an epidemic caused by a particularly brutal strain of mad cow disease, cattle town of some Irish farmers attack them and turn them into the living dead. Helena, a English tourist and Desmond, the local undertaker, who met by chance, will try to run away together by the threat, armed with a shovel, high heels, and a lot of hope.
Search and look, here's the gem that it is in Europe again. It is in this part of the world that the horror is gradually ascending to the throne that belongs to him, beyond the mega-Hollywood - which, film after another, they simply hit (and sink), our favorite genre. The Descent, High Voltage , Shaun of the Dead, these and other riders who drive the resurgence of terror on celluloid. And although Dead Meat can not be grouped with the aforementioned titles - in his blood flowing fiercely amateur huge portions - must give credit to Conor McMahon, with his tribute to Romero's father, can give an hour and a quarter of brilliant guignolesche grand and ingenious solutions found, to greet with smiles wider.
In his first film, in fact, the young director is the center. Not so much for a plot that makes no mystery of his nature citations, but to a wealth of fresh news, sparkling developments director, and a crescendo of horror and intestines that results in a bitter and painful ending.
And then you can be left on a casting - alas - not particularly happy, loving and beautiful Marian Araujo, David joins a Muyllaert hero comprimario too static, with that classic pole up his ass that prevents sbocciatura many, too many young actors. But the other journeyman, either because of inexperience or because the actual lack of talent, offer evidence for the most opaque part of the movie, uplifting only occasionally (the amazing final, a real epic where the film offers its best in any department)
So how can you let it go dark on certain points of a script and ran smoothly, such behavior a bit 'too cold once the actors become aware of the threat they will face, and some use of the zombies as a stopgap to stretch a bit' the already poor playing time.
And, of course, you can turn a blind eye make-up even on a not particularly glowing - but does his duty, given the abundance and creativity of a department visceristico and gore, which disgusted and intrigued.
There is a flaw, true. Many. But then, in a debut, so sincere and honest, so real and heartfelt, you really resist the temptation of praise for its load of bloody beauty and caring of the holes and dropping in pitch. Why Conor McMahon stuff for sale, and can cover all'elementarità of his script with a director who knows how to forge genuine flashes of genius. This is the case of the overwhelming and breathtaking start on killing the first living dead (gaming state that is the most original cinema zombesco all). O resurrected the assault of a cow, which releases pure thrills and tension. Or even apocalyptic end, complete with gothic and sinister atmosphere, created by the hand of a castle in the background, the assistance of the full moon and a simple craft torch, what works a thousand times better than any machine gun falciazombi.
then add a soundtrack to a minimalist, but who knows how to lead to disturbing excursions to the sound of violas and cellos, an example of how to create an atmosphere oppressive and dark with few resources (and a few notes) available.
is on the basis of these inventions that we must consider the primordial understanding of the horror. It is about people full of talent but also grateful devotion Conor McMahon and humility as you dive point. It is on such films as Dead Meat , which is his best card of spontaneity, that one is forced to bet. Why is this the horror we want.
Review originally published on Scheletri.com
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