![]() The most pointed political criticism is in the first half of the film, ambulances “from town” that never show up and the like. “You’re not gonna wanna see ‘her’ come back,” is the only warning about this process anybody ever gets. A clean cleansing kill, loved ones be damned. If they were bitten before they got there, they and we know what’s coming. But Charlie, the still-pregnant white girlfriend, keeps finding “rescues.” The wider Rez isn’t shown, but the gimmick is the Red Crow alone are immune. Lysol is all about “Ain’t nobody immune here but us,” and keeping newcomers out. We’re treated to a leisurely stroll through the compound where the tribe is holding out, to the bridge they’re “barricaded (with a zombie-chewing snowplow) and to the tensions rising within their little band after half a year of hell. “Six months later,” welcome to the New Normal, and say goodbye to anything compelling or urgent in the story. Traylor barely has time to get his boys, his son Joseph’s pregnant girlfriend (Olivia Scriven), his dad and his ex wife (Elle-Máijá Tailfeathers) safe. The outbreak is coming from the river, or maybe from the “townie” side of it, where the white people live. One more radio call and the Chief is ready to repeat the line he used to his dad, the one that should have been his guiding light all day long. He gets the call that his old man (Goeman) has something to show him, and sees with his own eyes “Those salmon are GUTTED” and they’re still flopping around, looking for something to bite.īailing his two sons, Joseph ( Forrest Goodluck) and “Lysol” ( Kiowa Gordon) runs them all afoul of a guy coughing up blood, and looking for a bite in the drunk tank. He’s already shown up to shoot his ex’s dying dog. Police Chief Traylor (Michael Greyeyes) is having a bad day. It’s going to take more than that to make me care, and I dare say I’m not alone. It only finds any humor in the morbid situation befalling the Red Crow survivors of the global zombie pandemic briefly, and in the third act. This slow-footed and otherwise-generic Native American spin on staggering down “Zed” Lane never takes on much in the line of urgency. Kinsella’s stories show) comic possibilities. ![]() Fascinating subculture, an environment rich with dramatic and (as W.P. He’s talking up, in press interviews, the politics and grievances that led to him setting this trip to “zombieland” there, and in 1981, when he remembers the racial divide, the ongoing “townie/rez” conflict, as particularly fraught.īut while its Canadian grey-gloom and slang are a little different, with a little Native language speculation of “the old ways” variety, suggesting the environmental causes of the calamity adding novelty, it’s a drag, man.Īnd I will watch most any movie set on Native land. Writer-director Jeff Barnaby sets his film near where he grew up, among the Listuguj Mi‘ gmaq “First Nation” people of Canada. In the case of “Blood Quantum” - not the catchiest title, BTW - but really in the case of any zombie picture, the answer to that one big proviso remains an emphatic “NO.” Scream it into the void, even though no one will hear.Įmail the board rooms, the film school deans, even though none will reply.Įven if you set your zombie apocalypse on an Indian reservation in Quebec, EVEN if you open the film with an old man ( Stonehorse Lone Goeman) gutting salmon by the riverside, salmon that won’t stay gutted, is there anything anybody can do with this genre that we haven’t seen before?
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