Generally speaking, I'm over zombie movies. While favorites such as 28 Days Later along with the initial seasons of The Walking Dead were enjoyable, the genre seems mostly exhausted nowadays. Yet the much-awaited 28 Years Later has been sitting in my watchlist for months. But, the platform's new Southeast Asian horror film, The Elixir, succeeded in subvert what I anticipated and proved quite entertaining.
Among this movie's greatest strengths lies in the superb pacing. It kicks off using a memorable initial scene in which a calm family party is violently interrupted by a vehicle plows right into the guest area. From the wreckage, an extremely undead-looking stranger stumbles out and begins attacking the attendees. This intense scene is then succeeded by a flashback, allowing us to observe the family before the tragedy struck.
In contrast to numerous zombie films, The Elixir truly allows the audience sufficient time to get to know the primary personalities before the carnage ensues. We meet Nes, a married mother whose ex best friend, Karina, has become married to Nes' father—an obviously uncomfortable dynamic. Naturally, this has understandably led to a falling out among the two women. We also see her sibling, Bang, described as kind-hearted yet socially awkward, and he enjoys gaming alongside his nephew, Raihan. Nes' husband, Rudi, seems to have recently cheated on Nes. This household head consists of her dad, who runs a popular herbal remedy business called Wani Waras, and he seems focused on just two things: his work and his wife to his daughter's ex-best friend. Unsurprisingly, this family reunion is incredibly strained.
I found myself so invested with this household's issues along with their personal conflicts that I almost forgot this was a scary movie—something that could sound like a negative, yet ultimately paid off. The Elixir dedicates a considerable portion of its runtime depicting viewers the identity of every relative is, plus the ways they contribute to the general dysfunction. This emphasis on conflicting personalities enabled me to relate to the personalities sufficiently to be concerned for their outcome—an uncommon accomplishment in a genre which frequently introduces characters just to eliminate them shortly afterwards. The Elixir doesn't treat its cast as flat, disposable victims for a horde of zombies to consume, thus it's a genuine shock once events finally go wrong.
The initial scenes of the party and various family interactions actually evoke the movie Parasite, a story that masquerades like a Korean drama featuring somewhat morbid humor before taking a sudden shift into shocking territory. These introductory moments don't focus as much on comedy as Parasite, but The Elixir still provides sufficient time to settle into its world prior to it gets upended.
The film additionally presents a quite interesting reason for the source of the contagious transformation. Instead of an accidental lab leak or a type of biological weapon, the source of this contagious disease stems from a recent sample from Wani Waras natural medicines created by Nes' father. Although we do learn a bit about how it started, it would have been better if the film had spent a little more focus explaining how Wani Waras went from a reputable supplier of holistic medicine to creating a lethal potion that appears to include a highly contagious pathogen. Regardless of the limited context, the impact this condition produces on humans proves absolutely repulsive, which I appreciate. The Elixir's zombies are quick, freaky-looking, and, maybe most disturbingly, always smiling. This is a bold choice, yet it succeeds. The Elixir's practical effects and CGI are also very convincing, and they're practically guaranteed to trigger a fear of holes.
More impressive compared to the disgusting scenes are the characters themselves. Certainly, we see a few instances of questionable choices (as in typical zombie movie), but generally, Nes and her relatives are resourceful and quick-thinking. Additionally, they don't hesitate to strike an undead in the face, pierce it with a pitchfork, or hit it on the skull with the nearest blunt instrument is available rather than freezing like prey caught in lights while danger approaches.
The Elixir doesn't drop its focus of familial discord when people begin transforming into zombies, this proved a welcome realistic subversion from that "We don't get along|"We have issues, but you almost died I immediately pardon you for all your mistakes!" cliché frequently used in apocalyptic movies. It's clear, Nes loves her family and values her spouse, Rudi, yet it's equally apparent she's still holding onto resentment over his betrayal of their marriage vows. When the family becomes split up, they decide via telephone to meet up at a nearby location. But when Bang reveals he is unaware the way to the location, Nes unleashes a massive level of irritation toward Bang which has obviously been brewing for years. Nes isn't flawless, and her relatives—with all their imperfections—seem realistic and relatable because the film doesn't try to push the notion that a near-death experience instantly cures familial strife. This makes those instances when these characters do show gratitude for each other feel far more sincere.
In spite of The Elixir's strong efforts to innovate, the conclusion is admittedly somewhat stereotypical. The Elixir isn't really presenting some profound insight regarding relatives or society, as well. Rather, it's primarily serving up frights. But they're effective frights, and since the film gives each character sufficient space to develop and doesn't punish them for having flaws, the outcome proves an engaging and enjoyable
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