Knight at the Movies: Pontypool
Zombies, zombies everywhere
But not a trope worth a think. . .
I’ll cop to languishing under a surfeit of zombies.
Zombie filmakers suffer under the same burden a Shakespearean director does. You want to do a new production of Richard III, but how do you make your mark on four hundred years of canon?
As I see it, you have three choices. You try and set a new gold-standard in casting, costumes, set, stage direction and so on. A fine way to go about it, if you have the money. Your second option is to do an adequate job with the above, but add a gimmick, like the 1930’s fascist take on the play by Ian McKellen. The third option is to toss Shakespeare out the window, or at least make drastic changes to the material — ferinstance, enhance the many curses the characters throw at each other until the effect’s more fantasy than history.
A would-be zombie moviemaker is in the same besieged mall as our Shakespearean. Everyone labors in the justifiably popular shadow of George Romero, who took zombies out of the D-list Universal monster era, added a ghoulish twist, and sprinkled on some Rousseau. Romero’s zombie mythos is the new canon.
Zack Snyder set the new gold standard with his remake of Dawn of the Dead. The genre-tripping triad of Edgar Wright, Simon Pegg, and Nick Frost created one of the best entries in zombie film-making by simply giving it all a Brit twist with Shaun of the Dead.
Then there’s 2008’s Pontypool, which tosses Romero out the window in a number of ways. I’d never heard of it until I happened to catch it on late-night cable, but then I’ve been living in a child-care submarine for the past couple of years, so it was a thrilling surprise.

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