Zombie Reviews: The Z Effect (2017) By A. Zombie
Zombie Reviews . . . The Z Effect (2017)
By A. Zombie
Rated: NR (Contains adult language, violence)
Starring: Michael Navas, Scott Schlueter, Steffie Grote, Douglas Wilcox II, Charles Gordy Swalm, and Cali De La Rosa
Sometimes, just sometimes, a bunch of people need to band together to shoot a zombie movie. No rhyme. No reason. Just the unrelenting want to add to the genre in a small way. Which is why it feels like there’s more and more micro budget films flooding the streaming market. Camera technology put this burden in our eager, capable hands. Mankind will ride this idea into the ground and back again. Got no money? Doesn’t matter. Apparently zombie films practically make themselves these days. The Z Effect takes the mico budget idea and does its best to stretch the limits of what they can do on-screen.
Without warning, the dead return to attack the living. Missing not one beat, Mike and Scott band together to stay alive in the face of so many horrors. It’d be easier to go on if Scott knew whether his girlfriend Natalie survived the initial undead wave. Nevertheless, there’s nothing they can do about being separated. Scott can either move on, or get bit by one of the numerous adolescent zombies who keep tripping him up morally as they search for supplies and a viable car. Along the way, Mike and Scott encounter a few zombies whose backstory we learn in vignettes. There’s also two other survivor groups nearby, but one doesn’t play well with others. Especially when those others happen to shoot two of their members because they’re loudly harassing a zombie woman. Everything changes when Terrance, from the good group, tries to boost Mike and Scott’s car. They talk things out and decide to pool resources, which includes a guaranteed roof over their heads and more living people to talk to. Lo and behold, Natalie’s living with the good group, along with half a dozen others. There’s not much time to bask in their reunion. When the Crazies find Mike and Scott a few days later, they hatch a plan to get revenge for their fallen bros.
The greatest enemy in this film is the editing. It’s choppy. It’s confusing. In order to artificially complicate the plot, the editor decided to tell the end of each vignette first, then go back to fill in some of the gaps. This leads to things like wondering if they’ve misused an insert clip of a hand holding a gun in some scenes, or trying to figure out if Scott’s having flashbacks compared to vivid nightmares. Thanks to this “edgy” editing style, it’s hard to figure out which zombie is which, and even harder to recognize those zombies when they come back to face the heroes. The whole point of presenting the film this way was to be able to tell those zombies’ stories around the hero’s plot in self-contained bursts, but they lose focus once the human drama outweighs the dead drama and the hyper-stylized editing system winds up killing the tension leading into the final fight.
Technically, the film shows its budget big time. The digital effects are as basic as one can get. Zombie makeup consists of artfully splattered fake blood, with little more attention brought to the clothes—which were probably made in bulk by just slashing random holes in thrift garments and dousing them in blood. Also pretty sure the sound was caught on one boom mic or the camera’s mic because for in-car scenes, you can only really hear whoever is closest to camera. Thank goodness for subtitles and the shining few actors animated enough to sell their lines despite shoddy sound recording.
Like many of the films I nabbed recently, this one delivers as best as it’s able to with what was available. If effort could win prizes, they’d have a shot. That’s not really how this goes, though. In the grand scheme, The Z Effect, even with the catchy song at the end, only gets one dismembered hand out of five.