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Netflix's Startling New Zombie Movie Breathes Fresh Air into a Tired Genre

For the most part, I'm over zombie movies. Although favorites such as 28 Days Later along with the initial episodes from The Walking Dead were enjoyable, the genre seems largely exhausted nowadays. Even the highly anticipated 28 Years Later has been sitting on my to-watch queue for months. However, Netflix's new Indonesian zombie flick, The Elixir, succeeded in subvert what I anticipated turning out quite entertaining.

Excellent Pacing and Character Development

One of the film's strongest strengths is its excellent pacing. It kicks off using a memorable opening sequence where a peaceful family gathering is violently interrupted when a vehicle plows into the guest area. From the wreckage, a very zombie-like individual stumbles out and begins assaulting the attendees. This intense scene is immediately followed by a look back, giving viewers to see this household before the tragedy struck.

In contrast to numerous zombie films, The Elixir actually gives viewers enough time to get to know its main personalities before the carnage begins. There's Nes, a wife and mother whose ex close friend, Karina, has become wed to Nes' father—an obviously uncomfortable dynamic. Naturally, this has predictably caused a rift between the two women. Then there's Nes' brother, Bang, who is good-natured but socially awkward, and who loves gaming alongside Nes' young son, Raihan. Nes' husband, Rudi, seems to have lately been unfaithful to Nes. This household patriarch consists of her dad, who runs a well-known herbal remedy business named Wani Waras, and he appears to care about only two aspects: his work and his wife to Nes' ex-best friend. Needless to say, this family reunion is extremely strained.

Engaged in the Drama

I found myself so invested in the household's issues along with their interpersonal drama to the point I nearly overlooked this was a scary movie—which might sound like a negative, yet ultimately worked well. The Elixir spends a significant amount of the film depicting us the identity of every relative is, plus the ways they add to the general dysfunction. This focus on clashing traits enabled the audience to relate to the personalities sufficiently to care about their outcome—a rare accomplishment for this style that often presents individuals just to kill them off shortly afterwards. The Elixir avoids portraying its characters as flat, disposable victims for an army of the undead to consume, so it's a real surprise when things eventually deteriorate.

Reminiscent of Parasite

The initial sequences of the party and the multiple household exchanges in fact evoke the movie Parasite, a story that masquerades like a Korean drama with somewhat morbid humor before making a sudden shift toward shocking territory. These early scenes aren't centered as much on humor as Parasite, yet The Elixir nonetheless gives sufficient time to immerse in its world prior to it gets turned upside down.

Unique Infection Origin

This movie additionally presents a quite intriguing reason regarding the origin of the contagious transformation. Rather than an accidental lab leak or a type of biological weapon, the source of this infectious condition originates in a recent batch from Wani Waras natural medicines created by her dad. Although we do learn something regarding how it started, I wish the movie had spent additional focus on how Wani Waras transitioned from a reputable supplier of holistic medicine to creating a lethal potion which seems to contain a highly contagious virus. Regardless of the lack of context, the impact this condition has on people proves absolutely repulsive, and I love it. The Elixir's zombies are quick, freaky-looking, and, maybe most disturbingly, constantly grinning. This is a bold choice, but it succeeds. The Elixir's physical effects and CGI are also very convincing, and they're almost guaranteed to trigger a fear of holes.

Capable Personalities

More impressive than the disgusting scenes are the characters themselves. Of course, there are some instances of questionable decision-making (as in any good undead film), however for the most part, Nes and her relatives are inventive and sharp. Additionally, they don't hesitate to kick a zombie in the face, stab it using a farm tool, or beat it over the head with the nearest blunt instrument they find instead of freezing like prey caught in lights while danger approaches.

Realistic Family Strike

The Elixir doesn't abandon its focus of familial discord when people start turning to the undead, this proved a pleasantly realistic deviation from that "We don't get along|"We have issues, but you almost died I immediately forgive you for all your mistakes!" trope frequently used in apocalyptic movies. It's clear, Nes cares for her relatives and values her husband, Rudi, yet it's equally clear she's still holding onto bitterness over his betrayal of their marriage vows. Once the household gets separated, they decide over the phone to regroup at a close spot. But when Bang admits he doesn't know the way to the location, Nes unleashes an immense level of irritation on her brother which has obviously been building over time. Nes isn't perfect, and her family—with all their imperfections—feel realistic and understandable since the movie avoids attempting to promote the idea that a near-death experience immediately resolves family tensions. This causes the moments when these characters express gratitude for each other seem far more genuine.

Predictable Conclusion

In spite of The Elixir's strong efforts to innovate, the conclusion must be said to be a bit formulaic. The Elixir isn't really presenting some profound insight regarding relatives or community, as well. Rather, it's mostly delivering frights. But they're effective frights, and since the film allows every personality enough room to grow and doesn't punish them for having flaws, the outcome is a captivating and enjoyable

About the author

Ruth Solis

A seasoned media analyst with over a decade of experience covering UK media developments and digital transformations.

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