“What A Time To Be Alive!” ANNA AND THE APOCALYPSE Reviewed…

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BD. Second Sight. Region Free. 15

We’re not renowned for our Christmas spirit here at The House Of Freudstein. As a matter of fact, we’re irredeemable hard core Grinches. It would take more than some soppy Xmas flick to put a smile on our faces since that messy business with the Petersons… and as for the Boyles? Don’t even go there (“No Bob… not inside!”) Rom-coms? Musicals? All things uplifting? Fuck ’em… and we reserve a special place in our bloody basement for Johnny come lately zombie movies! Yeah, you can make money out of any old tat now by bunging a few living deadsters into it… but where were you people in 1981?

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The auspices were not remotely favourable, then, but bugger me backwards with a candy cane if John McPhail’s gory zombie rom-com musical Anna And The Apocalypse (2017) didn’t win our hearts when opening Nottingham’s Mayhem Film Festival in October 2018. Mr McPhail even attended to introduce it, slag off Netflix and tell us what stand up people we were for still turning out to watch films on the big screen. Flattery will get you everywhere, mate…

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Plot is pretty much wot it says on the tin: schoolgirl Anna (the incandescent Ella Hunt, above) and her school friends / adversaries / would be lovers make a song and dance about their relationship issues and express their commonplace hopes, dreams and fears against the back drop of an unfolding zombie virus meltdown. It’s a saga of human persistence against the odds or a statement of futility, depending on whether you’re the kind of person who considers your glass of egg nog half empty or half full. In fact, while you weren’t looking, somebody slipped something bitter sweet into your  Advocaat… consider that a public health Warnink.

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McPhail does a stand up job taking on a project that was intended for its wrtier, the late Ryan McHenry (to whom AATA is lovingly dedicated), being as it is an expansion of his original 2011 short Zombie Musical. It helped that McPhail got (no disrespect intended to the original participants) a much better OST (some real ear worms here from Roddy Hart and Tommy Reilly) and cast. Special mention for Sarah Swire who plays Steph (the mislocated nerd who ultimately saves the day… or part of it, anyhows) and also choreographed the whole shebang. Paul Kaye essays one of those teachers most of us have suffered (if you never did, lucky you), the kind of guy who takes out the sour frustrations of his own miserable life on the kids he’s supposed to be nurturing and here finds an appropriate canvas on which to fully reveal his true hateful colours.

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The axing of Kaye’s duet with Mark Benton, plus the transformation of an an animated title sequence into an animated credits sequence largely account for the two different cuts of AATA, both of which are present and correct on this double disc set. You also get that original short. McPhail, co-writer Alan McDonald and composers Roddy Hart and Tommy Reilly chip in with an audio commentary and there’s assorted “making of” / “behind the scenes” / “at the Edinburgh festival” (lummy, was Ms Hunt aware of just how wispy her outfit was before stepping out in this bit?) which is so “feel good” that it nearly tips over into the sort of wholesome tweeness that the film itself lampoons. Nearly, but not quite.

What a time, indeed, to be alive. Or what passes for it…

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Categories: Blu-ray / DVD Reviews | Tags: , , , | Leave a comment

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