Direct management of homepage and database content
Data analytics on microsite usage, interest in British films and series elsewhere on Telescope, British films and series available across platforms, and more
Functionality that enables engagement with users directly from the microsite (create a campaign, conduct a survey, build a widget)
It's 1981 in Quebec and the dead are coming back to life outside the isolated Mi'gMaq reserve of Red Crow -- except for its Indigenous inhabitants who are strangely immune to the zombie plague, but who must still grapple with its consequences.
Barnaby’s colonialist take on the formula is far from subtle, and at times a little too bluntly on the nose, but he’s a film-maker with both something to say and the skillset to say it in a distinctive way, offering up an initially engaging alternative to mere guts and shock tactics.
I found myself admiring Barnaby’s editing and production skills—“Blood Quantum” looks great—but he’s not quite yet there in directing performances or writing dialogue. Everything here feels a bit too first draft or first take when the characters aren’t fighting off growling zombies.
Unfortunately, the film emulates many of its genre brethren’s inability to convert a promising start into a solid second act. . . . though a haunting finale almost redeems the flabby midsection.
Blood Quantum makes some important points, gives us stuff to care about and then drenches it all in audacious gore. And isn’t that exactly what we want from our zombie movies?
A lot of people are going to judge the film based on its success as a horror movie, and others will judge it as a political statement. Not that I think there’s a deficiency in any part of its personality, but I also think the panache with which it is both of those things and more — without looking to the history of genre or the future of civil rights for permission to say some pretty bold stuff — is why the film is a success.
WHAT ARE PEOPLE SAYING?
Be the first to comment about this film.
WHAT ARE CRITICS SAYING?
The Globe and Mail (Toronto) by Barry Hertz
The Guardian by Benjamin Lee
RogerEbert.com by Brian Tallerico
IndieWire by David Ehrlich
Variety by Dennis Harvey
The New York Times by Elisabeth Vincentelli
Slashfilm by Meredith Borders
Movie Nation by Roger Moore
Consequence by Scout Tafoya
Original-Cin by Thom Ernst