twistedhooch Reviews

I'm Not There (2007)

Captures The Spirit Of A Man They Call Bob

[8/10 · 12 January 2009]

In the foyer of a local cinema I heard a person refer to I'm Not There as a 'hagiography' of Bob Dylan; sure, this film celebrates the music and the shape shifting character of Dylan but it is also critical of the legendary figure. Todd Haynes' refreshing biopic explores Dylan through six actors and seven characters, not one of whom is explicitly called Bob Dylan. Like Haynes' earlier music biopic Velvet Goldmine which was about a Bowie-esquire figure, this story plays loose with truth and biopic conventions.

Narrated loosely by the poet-Dylan 'Arthur' (Ben Whishaw) and framed around the death of film star-Dylan 'Robbie' (Heath Ledger RIP) in a motorcycle accident, Dylan's story begins with 'Woody Guthrie' (the young black Marcus Carl Franken), painting Dylan as a pretender with boxcar blues aspirations. Folk star 'Jack' (Christian Bale) becomes a counter culture folk icon, which he'll eventually reject by going electric. Bale later reappears as 'Pastor John', a born again Christian. Aforementioned 'Robbie' is a star burning too bright, in a touching and painful relationship with Claire (Charlotte Gainsbourg). Cate Blanchett is electric period pop star Dylan, who is seen toying with the British pop establishment. Finally Richard Gere's 'Billy the Kid' portrays Dylan as an outlaw.

You'd be forgiven thinking that there is little to link them in outside of their inspiration and you'd be right; I'm Not There tells the story of each Dylan in a unique cinematic style, reflective of the time they represent, and without a plot thread linking stories, but this wonderfully serves the purpose of portraying Dylan as chameleon figure he is and lifts this above the staid biopic style. Each of the actors is suited to their roles, with special mention belonging to Cate Blanchett, who is utterly convincing in her portrayal of Dylan. This might not be everyone's cup of tea, but Todd Haynes should be commended for his adventurous and excited approach. Great soundtrack too.

The Darjeeling Limited (2007)

Another Enjoyable Wes Anderson Film

[8/10 · 12 January 2009]

To say Wes Anderson films are idiosyncratic is like saying David Lynch films are surreal or that Alfred Hitchcock films are suspenseful - it's kind of a given. Anderson's oeuvre thus far consists of unusual comic drama hybrids featuring inept criminal capering (Bottle Rocket), a high school student's fall and rise (Rushmore), a deeply dysfunctional dynasty (Royal Tenenbaums), and a father-son reunion set on an undersea search for vengeance (the under-appreciated Life Aquatic With Steve Zissou). It's the details, though, that make his films wonderfully fresh and original; such as Max Fischer's (Jason Schwartzman) plays in Rushmore or the Adidas tracksuit wearing family unit in Tenenbaums or Seu Jorges Portuguese covers of David Bowie in Life Aquatic.

From the first shot, The Darjeeling Limited stands far and wide from most modern Hollywood cinema, beginning with the short film Hotel Chevalier, the story of a fractured encounter in a hotel room with Jack (Jason Schwartzman, an Anderson regular and a Darjeeling scriptwriter) and his ex-girlfriend (Natalie Portman). The short film is separate from Darjeeling (it even has its own credits), though it features one of the main characters; it's referenced in the film, but doesn't having an overwhelming bearing on the plot. Though it may be confusing for some, Hotel Chevalier remains a nice touch for the fans, comparable with the Cousteau-esquire underwater film within a film that opens Life Aquatic.

The main feature continues a theme of Anderson's latter works – the family reunion. The brothers Whitman - a heavily bandaged Francis (Owen Wilson, who has worked on all the Wes Anderson's films), Peter (Adrian Brody), and Jack - meet up in India after a year apart to try and reunite with their estranged mother Patricia (Angelica Huston, an Anderson matriarchal character again). All three brothers, who last saw each other at their father's funeral, are on the run from something in their lives, as they travel by train – the titular Darjeeling Limited - across the country. En route they aim to have a 'spiritual journey', with clumsiness akin to Homer Simpson's vision quest. The brothers can function when engaged in activity or exchanging prescription drugs, but tellingly, two given brothers will talk behind the other's back. Unsurprisingly, things deteriorate to the point that they get into a fistfight, thrown from the train, and inadvertently find the heart of India.

Anderson, Schwartzman, and Roman Coppola's script shows great attention to the character quirks, leading to funny personality clashes, and the actors are each suited to their roles. Francis is controlling and dominant, even taking to ordering his brothers meals and having his travelling personal assistant write up their laminated schedules. Peter makes it seem like he's their father's favourite, by appropriating a lot of the dad's possessions after he died. Jack is obsessive about his ex and is making plans to abandon his brothers on the journey. As with earlier works, Anderson uses an unconventional narrative structure and tone, and mixes comedy with drama. After the short film, the first half of Darjeeling is often a hilarious travelogue of the journey. This contrasts with the slightly tragic second half, after the brothers witness the death of a village boy. Although this does have an initial jarring effect whereby you can note the exact point the film changes, the two contrasting halves work together through Anderson wisely sprinkling the sombre scenes with light comic touches.

Anderson again uses the soundtrack to great effect, mixing sixties pop, like Kinks and Rolling Stones, with soundtrack music from Indian films: that said, I personally didn't need to hear Peter Sarstedt's 'Where Did You Go To (My Lovely)' three times; a song that shares a gene or two with the Father Ted Eurovision song 'My Lovely Horse'. There are other Anderson trademarks on display here, such as the use of slow motion and panning shots from the side of the moving train, reminiscent to cross section shots of the boat in Life Aquatic. Design details like the jungle patterned luggage and the skull and bones box further heighten the sense that you're watching a Wes Anderson film, whilst Robert Yeoman's cinematography is beautiful, capturing the vibrant colours and dustiness of India. And there are cameos from actors in previous Anderson film, like Kumar Pallana (Pagoda in Tenembaums, amongst others) and Bill Murray.

Along with fellow Indiewood successes Quentin Tarrantino and Kevin Smith, Wes Anderson has created a unique cinematic world, has an individualistic cinematic voice, and consequently is loved and hated in equal measure. The Darjeeling Limited is a stunning and original piece, which stands well in Anderson's body of work. Darjeeling may prove challenging to mainstream audiences but is set to be adored by his not inconsiderable amount of fans.

Clerks II (2006)

Not exactly Empire Strikes Back, but a welcome return of the Clerks

[8/10 · 15 October 2007]

The original Clerks is a seminal film to me and has probably influenced me more than any film I can care to name. Clerks showed me the nature of independent cinema – to represent what the mainstream won't – and influenced my preference for low key, off kilter, and subversive films. Clerks embedded into me the importance of good writing and dialogue in films; a film that can be smart and crude about subjects like necrophilia and pornography, make reference to Star Wars in a naturalistic and humorous way, contain rants about idiot customers and from fascist anti-smokers, and also wax lyrical about relationships is indeed a wondrous film. Most importantly, Smith's protagonists Randal (Jeff Anderson) and Dante (Brian O'Halloran) are likable characters who are separately amusingly flawed but together just about make up one rounded individual. Dante's knack for making the wrong choices, with regard his life, job, girls, is counterbalanced by Randal's frankness to his friend. Where Dante can be compliant but dissatisfied, Randal is insubordinate and angry – and where Randal's attitude can alienate himself, Dante is always, if slightly grudgingly, there for him. And in Jay and Silent Bob, Clerks introduced two fantastic comic foils who've stayed with him ever since. Clerks is a bit charmingly rough around the edges and Chasing Amy is probably a better film, but for the above reasons Clerks remains my favourite Kevin Smith film.

Which is why I was filled with no small amount of dread when I heard about Clerks 2. I was one of the self-righteous fan-boys. The thought Smith making a vain attempt to recapture his glory days made me cringe at first, and sullying his masterpiece with a superfluous sequel? Blasphemy. Hadn't Smith already reprised his characters enough in various other form? A comic book, cameos in Jay and Silent Bob Strike Back, a wealth of merchandise, and even an animated series. For reference, I am a fan of these by-products of the original Clerks, but I needed some convincing over the necessity of another movie. It wasn't until I saw the trailer that I had a reluctant change of heart.

Plot wise, the film still follows the exploits slackers Randal and Dante through a day in their lives, albeit in a new fast food joint setting after the Quick Stop burns down; both protagonists are on the verge of change and neither are really up to it alone. Randal is loosing his best friend and his liaison to the conventions of society. Dante is stuck in another love triangle with his fiancé Emma (Jennifer Schwalbach Smith) who he's not that into, whilst leaving behind Becky (Rosario Dawson) whom he likes. Dante is still all about the bad choices and Randal is still looking after his friend.

What Kevin Smith has achieved with Clerks 2 is a successful progression of the characters stories from the original; Dante carried on along the Mac-job path, despite saying he would 'make change' in his life, and finds himself in a similar state as before. Smith wisely develops Randal into a more sympathetic character, and a man on the verge of an empty future; 'sometimes I get the feeling the world left us behind a long time ago.' Randal may be in a worse place than when we first saw him a decade ago but he is still the source of most of the films biting humour, be it ranting against the Lord of the Rings ('Three movies of people walking to a f*cking volcano'), referring to an online disabled person as a 'crippie-boy', and espousing the virtue of going 'ass-to-mouth'. New guy Elias (Trevor Fehrman) provides Randal a fine whipping boy, even if he is a bit too much of a goof-ball at times (I refer to talk of Elias' girlfriends orifice trolls). As Dante's love interest, Becky fits well into the Clerks universe.

Looking at both Clerks back-to-back, it's interesting to see how they compare. Both share a similar structure and moments of Randal and Dante abandoning their positions. There's even a rooftop scene and Randal teaching his friend an important life lesson. The original, though, is grunge cinema-du-jour, not only on a base soundtrack level, but in an aesthetic and spiritual way (note how Clerks developed from its humble beginnings into a merchandising behemoth, not dissimilar to certain bands of the era). Clerks 2 gains a cinematic sheen lacking (but not missed) in the original, but works well in this sequel (the thought of Smith shooting this in black and white seems a bit pretentious). Clerks 2 probably has as much in common with Jay and Silent Bob Strike Back as it has its forbearer, being more self-referential and celebratory of his cinematic world, and there's cameos aplenty from Smiths prior films (Jason Lee, Ethan Suplee, and Ben Affleck). And where the original successfully operated on a tell-not-show basis with regard to its rude set pieces (Julie Dwyers casket being tipped over and the necrophilia in the bathroom), the sequel is more explicit and willing to revel in the disgusting bits (inter species erotica).

Clerks 2 marks how Kevin Smith has progressed as a director, confidently handling an excellent (and OTT) dance set piece, and an affectionate scene round a go kart track. Clerks 2 doesn't really match the quality of the originals writing, and can occasionally come across as silly whereas the original was definitely smart. Clerks 2 does prove a good accompanying piece, and certainly the best film Smith has done in a number of years. One thing though; please, please, please Kevin, no Clerks 3.

Idiocracy (2006)

The idiots at Fox have a lot to answer for...

[8/10 · 19 March 2007]

I am a fan of Mike Judge, but I have to ask, why would he let Fox distribute another one of his movies after the debacle they made with Office Space? Needless to say, they royally made another mess of the release of his latest, Idiocracy. I would be curious what he would say on the matter as, alongside Beavis and Butthead Do America, Idiocracy is another great example of the clever-idiotic comedy genre (see also Dodgeball).

The premise for the film is essentially live-action-Futurama, only with future inhabitants being idiots. This is a strong idea, well handled, and the joke ratio is good, even by Judge's own track record. Idiocracy is full of great sight gags, similar in nature to the early Simpsons or the aforementioned Futurama. The satire on dumb-down American culture is razor-sharp, a world that considers water 'the stuff in the toilet', and a world with a 'violence channel'. Several big name corporations are probably regretting licensing their names for this film, as they are taken to task for their part in creating a futuristic world where people are consumers rather than citizens – this isn't a world too far from our own by any stretch of the imagination. Luke Wilson is in strong form as everyman Joe Bowers, a guy sent from the present day to a future where he is the smartest man alive. The future idiots are also well cast, and very amusing, in particular President Camacho (Terry Crews) and Frito (Dax Shapherd).

Though not perfect - the scale of the story is probably a bit too much for the budget, and the running length isn't long enough - Mike Judge has created a world that is prescient, plausible and scary, but always with a strong focus on the comedic elements. Fox, meanwhile, have done everything they can to bury this film. Didn't they release Dude, Where's My Car? and the American 'adaptation' of Taxi? Idiots!

Babel (I) (2006)

A bit of a critically acclaimed misfire, if you ask me.

[5/10 · 19 March 2007]

Babel, the recent film by Alejandro González Iñárritu (director of the fantastic Amores Perros and 21 Grams) is the kind of film that will divide people into two categories – those who find it intellectually stimulating, and those who find it worthy and dull. Structured in the style of his prior works, Iñárritu here weaves a four connected tales from around the globe about how language divides people, and only half succeeds this time – the narrative device no longer feels fresh and innovative here, but quite superfluous and mishandled. Babel's message that people need to listen is ultimately stating the obvious for a high-brow but conservative cinema-goer (read: those who use the Oscars / Oscar nominations as a gauge of cinematic success), adding no new insight here to the topic.

Babel has a few things going for it, such as the wonderful acting of Gael Garcia Bernal and Adriana Barraza in the most likable of the four stories, the Mexican wedding. There is some beautiful cinematography – the dusty Mexico, the dry Moroccan desert, and vibrant Tokyo settings lending their charms to the hand-held style. A scene of Chieko (Rinko Kikuchi, who puts in a good performance despite her story) in the nightclub beautifully juxtaposes the noise-filled third-person perspective and her silent first-person perspective is very poignant. The bleak tone is well maintained over the course of the film, right up to the well-directed but telegraphed climax.

Babel's two-and-a-half hour running time does drag - the numerous scenes of Susan (Cate Blanchett) slowly dying in a Moroccan village could have been cut down somewhat. The story of the deaf girl Chieko and her alienation from the rest of the hyper-real and loud Japanese society is at times embarrassing - the crude treatment of Chieko trying validate herself by sleeping with someone, in particular. The Tokyo story is interwoven into the film by a very tenuous link and feels forced in for the sake of the structure, rather than actually benefiting the story.

I know the above opinion is not the popular consensus on this site, but it is my opinion that Babel was a hyped affair that failed to convince. If you liked last years Syriana then you may find some stuff here to enjoy, similar as both films are in structure and tone, but I'd personally advice you to check out Amores Perros before braving Babel.

Brick (2005)

A neo-noir of the highest order

[9/10 · 19 March 2007]

Director Rian Johnson's independently made Brick is the fruition of several years of hard work, and one of the better Sundance success stories of the last few years. Brick subverts the noir genre conventions; the dialogue is Dashiell Hammett referencing hard-boiled style, but gone are the morally ambiguous adults and bleak urban nightmare, replaced here by troubled teens and California suburbia.

The story concerns Brendan's (Joseph Gordon Levitt) quest to find out how his one-time sweetheart Emily (Emilie De Ravin) wound up dead in a tunnel. His investigating takes him through a plethora of duplicitous characters and all of them lead him to one main man, the Pin (Lukas Haas). The tangled web that surrounds Emily's death keeps one guessing who really killed her, but the suspense surrounds how Brendan is going to resolve his differences. The casting was well suited to their roles, and the performances are very good, in particular hard man Tug (Noah Fleiss), femme fetale Laura (Nora Zehetner), and protagonist Brendan. On its release, the element most mentioned was the old hard dialogue style, but in the context of the story and the characters it is feels right and natural. Rian Johnson's direction is subtle and skilled at creating the right mood, with particularly good use of colour and shadows. The 'junkyard score' successfully fits the tone of the film beautifully.

A teen noir if handled clumsily could seem to be quite gimmicky but Johnson successfully steers clear of that direction – during production he would not let his young actors watch the original film noir, lest they turn up doing bad Humphrey Bogart impressions. The key to Bricks appeal is the balancing between the obvious affection Johnson has for film noir but not letting it become a LA Confidential or Black Dahlia type pastiche. Though referential, Brick is a fresh approach to an old genre that succeeds at revitalising it.

Gasman (1997)

Merry Christmas, social realist style.

[6/10 · 25 October 2006]

It's grim up north the old saying goes; Gasman by Lynne Ramsey won't change that stereotype but it does illustrate the talent of this director. This short film shares similarities with the both work of Mike Leigh and social realist 'kitchen sink' films of the sixties, in showing a slice of life story from the lower classes. Read; bleak setting and diegetic sound.

Set in an undisclosed Scottish city at Christmas, the story concerns a day in the life of lower class father (James Ramsey), daughter Lynne (Lynne Ramsey Jr) and son Steven (Martin Anderson) as they walk the tracks. En route, they mysteriously pick up more children from a woman (Jackie Quinn), Lisa (Lisa Taylor) and Robert (Robert McEwan).

Gasman is a powerful piece, due in no small part to the performance by Lynne Ramsey Jr. It is a powerful portrait of a working class young girl and the confusion she faces. When pretending to be Dorothy from the Wizard of Oz, you really believe that 'There's no place like home.' The supporting cast are also suitably bedraggled for their characters to be believable. There are some fine visual flourishes in this short piece; the close shots of people getting ready for their day out give the film a very intimate feel, as if you are really looking into their family life. There is appropriate use of light and dark contrast, in particular as they are in wide shot walking up the tracks. Also, the working club Christmas party is visual delight, with child POV shots, slow motion and chopped up editing.

At times the Scottish dialect is quite hard to follow with the sound quality being quite raw. My main issue with the film would be that Gasman doesn't have anything original to say. Gasman is suitably bleak according to genre convention but its essential message being that it's challenging growing up in a lower class environment has been a mainstay of social realist cinema since before Kes. Still grim it would seem.

South Park: Bigger, Longer & Uncut (1999)

Comedic Genius: disclaimer - if you are easily offended or have no sense of humour, don't watch this film.

[8/10 · 25 October 2006]

The televised exploits of Stan, Kyle, Kenny and Cartman were greeted by some with praise, for its exaggerated satirical exploits of small town life: conversely, they have also been criticised for destroying the moral fabric of society. Needless to say, those falling into the latter category won't find much to enjoy here and will probably dislike this film more, with its 399 instances of swearing, a lot of words which were bleeped out when broadcast on the show. That said, this film is positively tame in comparison with recent series of the show, which have featured blistering attacks on Scientology, Mormons, and ginger kids.

The story, loosely held together by musical numbers, concerns the boys seeing the profane Terrence & Philip movie A***s Of Fire, which leads the boys to some fine inventive swearing: 'Sh*t-faced, rectal wart', anyone? The parents take offence and start a war against Canada. Meanwhile, Sadaam & Satan are plotting to takeover Earth, and Stan is on a quest to find the clitoris.

It is in the musical numbers that a lot of the films best points are exhibited, choice examples being the excessively crude 'Uncle Fukka', Sadaam Hussains 'I Can Change', and the reprise of 'Kyles Mum Is A Bitch'. The satire is strong as the plot of the film seems to be allegorical about the American reaction to the T.V. inception of South Park, most laughably in how it was mentioned around the time of the Columbine massacre.

There are points when it all gets a bit too much. Satans 'Up There' song isn't funny and is an irritating song too. Also, the Stans clitoris subplot feels tacked on. South Park - The Movie, though, remains hilarious and will please fans of the show and reaches the heights of the benchmark TV animation adaptation to film, Beavis & Butthead Do America.

Primer (2004)

'They took of their surrounding what was needed, and made something more'

[7/10 · 6 August 2006]

On the cover of the UK Tartan DVD release of Primer it name drops, in quote, that most heavily referenced recent film dealing with the concerns of time travel, Donnie Darko. It is a lazy comparison point as, other than time travel, the main similarity between the two films is the bafflement after the initial viewing. Like Donnie Darko, Primer would benefit more than one viewing to grasp concepts and ideas contained within. Unlike Donnie Darko, it focuses on a scientific time travel concept, using quite technical language and theory; Primer shows a physics concept of time travel, whilst Donnie Darko is based in a metaphysical concept.

Primer is very impressive for what it is, a lo-fi science fiction film: 'they took of their surrounding what was needed, made something more', could refer to the action in the film and be a knowing reference to the low budget nature of this film. Clinically shot and edited, with an impressive piano driven soundtrack, this film looks so much more impressive than a film should for $7000. It is only in the sound department that it occasionally illustrates its low budget; a few lines of dialogue are a bit hard to distinguish, but this isn't too much of a problem.

The film concerns the plight of friends and inventors, Abe (David Sullivan) and Aaron (Shane Caruth), who unwittingly invent a time machine in Aaron's garage. Initially things seem to go well for them as they use their machine to cheat on the stock market. But tensions grow between the two friends, as both get paranoid over their discovery and use the application for their own ends, such as intercepting a shooting at a party and Aaron drugging his past self . The film is quite serious and adult in tone, but there is some fine use of future-tense humour; in a scene where Aaron and Abe are commentating on a live basketball game they've seen, Aaron states 'Are you hungry? I haven't eaten since later this afternoon.' The causality of their actions is shown as they both lose their ability to write properly and Aaron bleeding from the ear which he sometimes uses an earpiece in.

Abe and Aaron's friendship is well handled and believable, and their acting is of a high quality. It is outside their friendship that there are flaws. Both Abe and Aaron's family life is only referred to briefly and confusingly, leading this element to seem quite inconsequential. This also happens in their relationship with their colleagues / co-inventors Robert and Phillip, who appear early on but disappear as the film goes on.

The main challenge in watching Primer is both a point of praise, and paradoxically, a flaw for some; Primer requires more than one viewing to fully enjoy the film. The first time I watched it I was baffled; some of the technical language is quite baffling on the initial viewing and Primer features a very non linear narrative structure. I can imagine this being an alienating film to some, as it requires constant attention to detail. That said, those who like to study and dissect films will enjoy the amount of study required.

Primer is a well made low budget film with good production values. Shane Caruth should be commended for the amount of work he has done, in the roles of writer, director, producer, lead actor, casting, production design, editing, sound design, and writing the original music. If you are willing to make the effort with this lo-fi sci-fi gem, it is a rewarding experience.

LolliLove (2004)

Love it? Oh would love more of it!

[7/10 · 22 April 2006]

As a fan of the good people at Troma's work and ideals, it was on visiting the Troma site that I stumbled on this gem; a mockumentary about helping the homeless by giving them lollies, Lollilove is a sharp satire about helping those less fortunate and a strong debut from Jenna Fischer, but not without flaws.

The characters are well written, and the cast are believable and funny. Even Lloyd Kaufman, in one of his stronger role, as Father Lloyd. James Gunn gets most of the laughs as the ridiculous artist husband, making a number of very un-pc statements - his character is improved for it. The editing, though, is the films trump card, making the film hold together better than most mockumentaries (and a lot of the Troma back catalogue for that matter), looking a lot more professional than its meagre budget justifies. Though Lollilove isn't your average Troma picture and probably won't please all Troma fans, this does share the Troma independent spirit and the dark macabre humour.

That said, there are flaws, the major one being its length; a 65 minute running time, which for a feature film is not long enough to be truly satisfying, at least to this cinephile; yes, the deleted scenes on the DVD would have harmed the film had they been included, but Lollilove would have benefited an extra day or twos shooting, and 10 minutes more the running length. One clumsy directorial choice was the bleeping of swearing, intended to make Lollilove more like a TV show, but seems out of place given the dark nature of humour. Also, a couple of points in the film the joke ratio isn't as strong as it could be, especially when compared to the work of Christopher Guest (a tough comparison point, being that he's an auteur of this genre).

Though not perfect, Lollilove is a wicked satire, a promising debut, and a good Troma title to boot. Perhaps to fully appreciate this film, it is necessary to note the low budget production values, and the work done between husband and wife Jenna and James Gunn. This is worth further investigation if your a fan of mockumentaries, and have a dark sense of humour.

Zombie Honeymoon (2004)

Every Bite As Good As It Sounds!

[8/10 · 26 March 2006]

One part romantic story with charming characters and pathos, one part flesh chewing action. The two genres shouldn't work together particularly well, but they do a very good job of it here. The romance is sweet without being saccharine, the zombie 'snacking' is gory but not repulsive. This genre clashing is balanced by a deft dark comic touch, leading to one of the more interesting zombie efforts of recent years.

Zombie Honeymoon is held together by its balanced tone, and production values on a budget. The acting is of a high standard, particularly Tracy Coogans wife 'Denise', giving the film an emotional resonance lacking some zombie films. The film has an excellent garage / surfer rock soundtrack (one of the credited roles was for 'Psychobilly Adviser'), and excellent sound design - it sounds like their having a lot of fun in the production of this element.

Its main flaw, an unfortunately unavoidable one, is that it doesn't strictly adhere to the zombie rule book (handed down to us by the one they call Romero), making comprimises between the zombie and romance genres (a few more zombies wouldn't have gone amiss), and there are a few unanswered questions lingering on later viewing. Thankfully, the film is enjoyable enough whereby it's not too much of a challenge to overlook these points. This film is destined to be a cult favourite; it isn't for everyone, but its good to know that these two conflicting genres can work together. An accompany piece to Shaun Of The Dead or Bubba Hotep is not unfair to say. Zombie Honeymoon is a genuinely sweet, fun, unique, and interesting film, treading between binary opposite genres skillfully.