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The zombie apocalypse genre is crowded with clichés, but The Cured sets itself slightly apart with some extra BRAAAAAAAAAAINS and thematic depth.
All Critics (60)
| Top Critics (16)
| Fresh (40)
| Rotten (20)
My tolerance for zombie acting and zombie drama in the style of Danny Boyle's 28 Days Later is never all that high, and the tropes are a bit familiar here.
At its best, it has the provocative cunning of a "Black Mirror" episode. Unfortunately, "The Cured" becomes less cerebral and more predictably action-oriented in its third act .
The feelings are right, and that's very much the main thing.
Debut director David Freyne has obviously seen entirely too many George Romero movies for his own good.
It's not that writer-director David Freyne is incapable of finesse - "The Cured" has long and affecting passages marked more by sadness and melancholy than horror - but he seems to have misjudged the overtone here.
"The Cured" drops the politics to become a straight-up zombie flick not nearly as intriguing, though no doubt better for box office.
Page, also credited as a producer, is largely pushed to the sidelines, but the shifting power dynamics between Keeley and a menacing Vaughan-Lawlor effectively elevate the material.
David Freyne has created a social drama crafted within a genre film.
Although the film always plays bigger than it is, Freyne continually keeps the conflict on an intimate level by keeping his focus on Senan, Abigail and Connor's whose differences with each other are articulated so intelligently and distinctly.
Similar to like-minded BBC series In The Flesh(...), The Cured is most interested in exploring how social cohesion is threatened when disparate people and divergent beliefs are put in a pressure cooker.
The gory details of this imagined world are just too specific to have any resonance. We're left with a solemn yet pulpy horror flick.
Tense, creepy and layered with historical parallels, this could be the horror film of the year.
What if zombies could be cured? This Irish production kinda ponders the implications, but stays too formulaic, too safe, in the end, forgetting that the subject matter DEMANDS outlandish, fantastic elements. The ultimate result is less than dramatic, less than interesting. Still, a good idea. I waited in vain for at least one scene where titled characters drooled while eyeing some innocent victim mindlessly.
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