After the bloated movie (miniseries? deleted scenes collection?) that was Zack Snyder’s 4-hour “Justice League,” the writer-director-cinematographer returns to his comfort zone with “Army of the Dead” (Netflix). Hot chicks, cool dudes, gunfire and needle drops combine for a fun mashup of “28 Days Later” and “Ocean’s 11.”
Return to his roots
Snyder – who made his mark with “Dawn of the Dead” (2004, no connection to this movie) — restrains himself to 2 hours, 28 minutes for this one, and it’s a measure of how colorful and fun “Army” is that it doesn’t seem overlong.
Writers Snyder, Shay Hatten and Joby Harold pepper in zombie mythology, quick logistical explanations and tidy character arcs to show they are trying. But it boils down to a charismatic group of personalities venturing into walled-off, “shambler”-filled Las Vegas to grab bundles of off-the-books cash before the feds nuke the city.
“Army of the Dead” (2021)
Director: Zack Snyder
Writers: Zack Snyder (story, screenplay), Shay Hatten (screenplay), Joby Harold (screenplay)
Stars: Dave Bautista, Ella Purnell, Ana de la Reguera
Colorful cast
I could watch almost any combination of these characters for quite a while without becoming annoyed (always a danger in quippy actioners). Those who especially stand out include:
- Tig Notaro (who was actually pasted in late in the game, replacing a #MeToo’d actor) uses her comedienne’s delivery to wry effect as a chopper pilot.
- Dave Bautista — as a lovable, sad giant — shows that his Drax qualities transfer to a lead role in an ensemble. He has a sweet ongoing tiff with his headstrong daughter (Ella Purnell).
- Nora Arnezeder, as the “coyote” who smuggles people in and out of Vegas, is an intriguing mix of supermodel body and gruff, French-accented voice.
- Theo Rossi brings his Shades-from-“Luke Cage” qualities to the role of a corrupt border cop.
- Ana de la Reguera (“Narcos”) has believable presence as a kind-hearted mercenary while also being decidedly easy on the eyes.
Not much of a message
“Army of the Dead” makes like it has something to say, but it doesn’t quite. The wall and guards around Vegas riff on the U.S.-Mexico border debate, but it’s muddled. Temperature checks and mentions of “the infected” are also present, but “Dead” doesn’t exactly take a position on pandemic lockdowns.
No matter. “Dead” starts a little slowly – a zombie-killing montage imagined by timid lock-picker Dieter (Matthias Schweighöfer) is there to break up a too-long stretch without action – but once the group gets into Vegas, the pacing is expert-level. In the right proportions, we get machine-gunned zombie kills, mythology (the zombie king and queen’s relationship actually has pathos), quips, clashes, veteran fighters being cool and newbies proving themselves.
The scope is suitably grand, but it doesn’t go too big. Pre-zombie Vegas is vibrant; reflective scenes at twilight are pretty. Needle drops of Elvis’ “Suspicious Minds” and the Cranberries’ “Zombie” are just goofy enough to earn a smile rather than a groan. Snyder doesn’t try to do too much, and that’s why “Army of the Dead” is so easy to like.