If there is a category for "torture porn" there should be one for zombie movies too; that is, movies that are not about plot or character but just "delivering specific goods." "To Kako" could serve as a standard, and it's too bad most fans won't see it because it's from Greece, and subtitled. The filmmakers here know we don't care 1) why people are turning into zombies or 2) much of the personal problems of the characters affected by the zombie plague. They know we just want more, and new, variations on the themes set up by Romero, Raimi and Jackson. They know we want the goods--zombies and over-the-top gore! And this film delivers.
Of course the word "porn" is derogatory and implies there's nothing more than exploitation going on here, which is not the case. Even though the story and characters are inconsequential (there's little or no exposition as to what caused the "zombie virus," why it affected the main characters and why we should care--in fact, initially I had a hard time keeping the characters straight) there's much at work here beneath the surface regarding good ol' fashioned suspense film technique, parody or straight-ahead; despite its direct-to-the-jugular attitude this is not a "dumb" movie. It's actually dark satire, but you have to be able to recognize that to enjoy it fully. The only things I do NOT like about "Braindead" and "Shaun Of The Dead" are the fact that the films waste so much screen time on their respective pathetic male heroes, and their pathetic problems. I also don't care for the way these films descend into cutesy Warner Bros. cartoons. "To Kako" is not "better" than these movies, or Romero's early classics, but it's a solid entry in the genre that is not to be missed if you're a fan. The zombies are plentiful, nasty, and just keep coming in the way that we fans of the genre love.
The benefits: Remarkable, fast-moving, creative splatter set-pieces, inventive camera, editing (loved the "flash forwards") and split-screen work (cheesy, but I think it was *supposed* to be), minimal moments of "down time", an eerie/throbbing techno score, the beautiful Athens locales and doe-eyed actors and a truly memorable, disturbing, apocalyptic ending. On the downside: some technical troubles where the low budget shows, some bad acting, some weird storytelling choices, none of which get in the way of the "fun."
On that topic, this film brings up an interesting point; despite some moments of genuine humor (there's one ridiculous sight gag with the perpetually horny cabbie behind a tree that shouldn't work but made me laugh all the same) this is a brutally violent movie concentrating on the wholesale graphic destruction of men and women trying to kill each other by utterly destroying each others' bodies until they become lasagna. The film's focus, and what will keep most of the fans happy (including this one), is how many people--undead or not--are dispatched, how graphically, and how often. It shouldn't be "fun," and with a heavier directorial hand it wouldn't be (Fulci films are pretty bleak, in general) but it is. That this makes such compelling viewing is probably symptomatic of the times we live in, but I'm not nearly drunk enough to know why...
The great cover art by Michael Bukowski well-represents the comic-book style of the movie. Check it out for yourself if you get the chance, it's worth the gamble.
Of course the word "porn" is derogatory and implies there's nothing more than exploitation going on here, which is not the case. Even though the story and characters are inconsequential (there's little or no exposition as to what caused the "zombie virus," why it affected the main characters and why we should care--in fact, initially I had a hard time keeping the characters straight) there's much at work here beneath the surface regarding good ol' fashioned suspense film technique, parody or straight-ahead; despite its direct-to-the-jugular attitude this is not a "dumb" movie. It's actually dark satire, but you have to be able to recognize that to enjoy it fully. The only things I do NOT like about "Braindead" and "Shaun Of The Dead" are the fact that the films waste so much screen time on their respective pathetic male heroes, and their pathetic problems. I also don't care for the way these films descend into cutesy Warner Bros. cartoons. "To Kako" is not "better" than these movies, or Romero's early classics, but it's a solid entry in the genre that is not to be missed if you're a fan. The zombies are plentiful, nasty, and just keep coming in the way that we fans of the genre love.
The benefits: Remarkable, fast-moving, creative splatter set-pieces, inventive camera, editing (loved the "flash forwards") and split-screen work (cheesy, but I think it was *supposed* to be), minimal moments of "down time", an eerie/throbbing techno score, the beautiful Athens locales and doe-eyed actors and a truly memorable, disturbing, apocalyptic ending. On the downside: some technical troubles where the low budget shows, some bad acting, some weird storytelling choices, none of which get in the way of the "fun."
On that topic, this film brings up an interesting point; despite some moments of genuine humor (there's one ridiculous sight gag with the perpetually horny cabbie behind a tree that shouldn't work but made me laugh all the same) this is a brutally violent movie concentrating on the wholesale graphic destruction of men and women trying to kill each other by utterly destroying each others' bodies until they become lasagna. The film's focus, and what will keep most of the fans happy (including this one), is how many people--undead or not--are dispatched, how graphically, and how often. It shouldn't be "fun," and with a heavier directorial hand it wouldn't be (Fulci films are pretty bleak, in general) but it is. That this makes such compelling viewing is probably symptomatic of the times we live in, but I'm not nearly drunk enough to know why...
The great cover art by Michael Bukowski well-represents the comic-book style of the movie. Check it out for yourself if you get the chance, it's worth the gamble.