We Bury the Dead might be the epitome of a middling experience. There’s an engaging premise, some strong acting – anchored by a solid performance from Daisy Ridley – and a few thrilling moments, it impresses in parts. Unfortunately, due to director Zak Hilditch’s reluctance to fully commit to any singular vision, We Bury the Dead becomes a zombie film that lacks bite.
We Bury the Dead starts with a somber tone. After a military disaster involving an EMP leaves the inhabitants of Tasmania brain dead, citizens from Australia’s other states and the US pitch in for body-removal. There are children strewn across playgrounds, families sitting at dinner tables, elderly couples laying “peacefully” in their beds – all waiting motionless to be carted off to mass graves. It’s a harrowing sight, intensified by the scattered remnants of better times; the wholesome aspects of a family photo are discarded when it’s used to identify bodies. Essentially, Hilditch does a great job of establishing a believable sense of despair.
This dreadful atmosphere is maintained throughout much of the film’s runtime. It never becomes exhausting though, thanks in part to Hilditch’s measured approach to shooting. The emphasis is always placed on the difficulty associated with dealing with the dead. Because of this, a lot of the grizzly details are initially implied rather than outright exploited. Instead of lingering on the deteriorating remains of a victim, Hilditch will cut to someone running from a house moments before throwing up. It’s a treatment that makes the volunteers more relatable as their personal struggles are placed front and center. So, by the time We Bury the Dead introduces the notion that some of the dead can/will regain consciousness, viewers are more empathetic towards the living than fearful of zombies.
It’s an interesting set up that’s reinforced by the actions of Ava Newman (Daisy Ridley), whose search for her missing husband is as misguided as it is hopeful. Not only is she warned that those that come back are in a strangely catatonic state, she was also told that the longer they stay that way, the more aggressive they become. Her desire to keep going despite these warnings reflects a troubled grieving process; Ave’s unwavering determination supersedes logic at times, putting herself and others in danger.
The film readily introduces these types of weighty themes. There are some unpleasant dynamics surrounding foreign aid. A potential commentary on active euthanasia is also showcased whenever military personnel are shown putting down a “nonthreatening” zombie. Essentially, there’s a lot going on during Ava’s journey. Unfortunately, this is also where We Bury the Dead starts to unravel as none of these elements are ever fully explored. Most are briefly brought up, only to be dropped due to the threat of violence or some predictable encounter. A zombie suddenly waking up in the middle of an important conversation shifts the perspective, making the moment more about the expected danger than any meaningful bits of exposition.
The same goes for any visual clues. There are plenty of quiet moments where characters are allowed to ponder past experiences in relation to their current situation. Hilditch’s cinematic prowess comes into play here; retrospective portions of the film are accompanied by shots of a smoke-filled horizon, overturned vehicles, or some desolate beachside resort. But like before, these segments are quickly discarded as We Bury the Dead moves on to the next location, zombie, or violent event. Outside of a few interesting flashbacks and a prolonged encounter with a crazed soldier named Riley (Mark Coles Smith), the film doesn’t have much to say about a given theme.
I can’t fully commit to saying that We Bury the Dead is shallow. That said, if I did, I wouldn’t necessarily be wrong. It’s as if Hilditch was hesitant to dive into the more thought-provoking aspects of the film and instead, relied on old zombie tropes to move the plot along. This wouldn’t be a problem if the aforementioned undead weren’t so tame. Ava’s trek to find her husband takes place during the early days of an eventual zombie outbreak. At this point, the dead are still relatively pleasant; aside from their vacant stares and disturbing teeth grinding, they don’t pose much of a threat. And the few that do are held off until late in the film.
We Bury the Dead struggles to convincingly lean in any one direction. It doesn’t quite succeed on the horror front, nor does it fully address its interesting subject matter. Ava’s plight isn’t all that grand either, her struggles amounting to a few blisters on her feet and a brief run-in with a zombie. With all that said, We Bury the Dead still manages to be interesting enough to recommend. If not for the horror or thematic messaging, then for Hilditch’s world building and Ridley’s believable portrayal of Ava. Her tough but compassionate demeanor reflects the morally opaque nature of the film’s premise; Ava doesn’t enjoy killing zombies (or anyone really) to reach her goal. She makes foolish decisions, is somewhat aloof, and isn’t always likeable. But thanks to Ridley’s performance, Ava is certainly relatable.
We Bury the Dead is an incredibly middling zombie film. Director Zak Hilditch, while talented, struggles to balance its competing aspects in a meaningful way; weighty themes are introduced, only to be discarded moments later and the mostly “toothless” zombies betray the sense of dread that’s established early on. Thankfully, the film is salvaged by Hilditch’s impactful world building and Daisy Ridley’s solid performance.
Review screener provided.
REVIEW SCORE: 3/5
