Review: ‘Maggie’ is the civilized approach to a zombie picture (Includes first-hand account)

While some zombie movies deliver commentary about the state of society, others simply set out to entertain audiences with tales of the undead. Typically, the one thing both of these kinds of films have in common is their emphasis of the gory aspects of an outbreak. Lifting elements from action movies, these horror pictures incorporate chases, swarms and battles that pit the protagonists against a relentless enemy with few weaknesses. The caveat is most of these films don’t seem realistic. Maggie takes a different approach to a zombie-like virus that gives it a sense of authenticity not often achieved in the subgenre.

In spite of Maggie’s (Abigail Breslin) best efforts to shield her family from her infection, her father, Wade (Arnold Schwarzenegger), refuses to let his eldest daughter die amongst strangers. When retrieving her from the hospital, he’s warned of the symptoms and instructed on quarantine procedures. At first Maggie seems fine aside from the gnarly gash on her arm and darkness around her clouding eyes — nothing some bandages and sunglasses can’t conceal. But as the virus spreads, her body tunes into its more predatory senses and her hunger for “meat” becomes insatiable. Somewhat isolated in a rural area, the town’s folks insist the quarantine rules be followed to avoid spreading the infection. But Wade can’t let Maggie go — not yet.

This film is aesthetically bleak. The entire picture has a washed out quality as the virus sweeps across the country, affecting its human population as well as crops and thus food supplies. No time period or specific location is identified, giving the narrative a generic quality of Anywhere, U.S.A. This contributes to its being relatable, but there are several other factors with a greater influence on this characteristic. In spite of this terrible contagion, the world has not nosedived into chaos as generally described. In fact there is still an effective authority maintaining order and containment strategies appear to be relatively effective (however inhumane). Though people exercise caution, life goes on. In addition the condition of the infected seems more convincing, the onset is akin to other viruses and it somewhat parallels situations involving terminal illnesses.

Consistent with its distinction from other typical zombie/infection movies, Henry Hobson’s directorial debut unfolds gradually but evenly. There are no major hills or valleys in the narrative flow as Wade and Maggie try to manage and navigate her disease and its inevitable consequences. Schwarzenegger is remarkably paternal in this subdued role, credibly portraying the part of a concerned father for whom violence is out of character and a last resort — but a course he’s willing to take if necessary. Breslin is a young woman resigned to her fate, but happy to have the opportunity to indulge in her favourite pastimes one last time and say goodbye to her family. Maggie is a very strong character faced with a difficult situation through which she sets a brave example of spirit and will.

Director: Henry Hobson
Starring: Arnold Schwarzenegger, Abigail Breslin and Joely Richardson

Similar Posts

  • Review: ‘Hail, Caesar!’ is a revolving door of problems needing solving (Includes first-hand account)

    For those who have more than a passing interest in film and its history, the studio system is an endless source of fascination. This long-lost age of Hollywood worked within many restraints, but it also generated some of the biggest, most impressive and critically acclaimed productions of the last 100 years, as well as the first true movie stars. The studio heads oversaw everything from the progress of each film being made to the public images of their top-performing talent. The Coen brothers‘ Hail, Caesar! finds the humour in these relationships, while also paying tribute to an era gone by.

  • Review: ‘Dead Men Tell No Tales’ except for familiar ones (Includes first-hand account)

    When studios find a cash cow, they’re generally unwilling to let it go even when it seems past due. But as long as audiences are willing to head to the theatre to see the latest installment, studios will keep a franchise going long past its last good movie. That’s not to say there can’t be a return to glory after a bunch of duds, but it’s a rare occurrence. Fortunately dedicated fans keep the hope alive, eager to see if this one could finally be the one. On that note, Pirates of the Caribbean: Dead Man Tell No Tales is new to theatres.

  • Review: ‘Baby Driver’ frontrunner for best summer action movie (Includes first-hand account)

    Although the musical’s heyday is long past, it has seen somewhat of revival in recent years. While La La Land is a throwback to the classic feel and style of the big budget productions, another film has to some extent reimagined the genre to incorporate a more contemporary approach to the old school pictures. While at first glance, Baby Driver doesn’t look like a musical, it certainly shares some elements with the finely tuned genre.

  • Review: ‘Champions of Magic’ have nothing but fun up their sleeves (Includes first-hand account)

    There’s something inherently fascinating about magic. For some, particularly the younger members of an audience, it’s the thrill of being mystified by a spectacular act. For others, it’s the challenge of trying to figure out how a particular feat is accomplished. Regardless of what attracts someone to the show, it’s likely to be an enjoyable experience you’ll talk to friends about, describing the element you liked most and/or debating how you think it was done. Champions of Magic is an international show touring the world, and amazing audiences with their talent and wit.

  • Review: ‘A Star is Born’ plays an unanticipated melody (Includes first-hand account)

    This film has been remade multiple times, in different languages and has generally featured compelling actors in the leading roles. This tale of discovery, stardom and disappointment is timeless, and each rendition is enriched by the individuals’ interpretation of the role. The other pivotal element of the picture is the soundtrack, which drives the relationship at the centre of the narrative. It requires performers with range as they must convey deep emotional connections as well as sing. The film being described is none other than A Star is Born.

  • Review: ‘Love the Coopers’ is smothered in sugary melodrama (Includes first-hand account)

    The end of the year seems to elicit films about dysfunctional families trying to spend the holidays together, and collections of loosely related stories of people trying to find love and happiness in the chaos; the proliferation of these narratives is likely inspired to some extent by the popularity of National Lampoon’s Christmas Vacation and Love Actually respectively. However most pictures fail to recreate the success of either. Love the Coopers has decided to try to capture the essence of both styles.