Typically, I've grown tired of undead films. While classics like 28 Days Later and the early seasons of The Walking Dead proved enjoyable, this category feels largely exhausted at this point. Even the much-awaited 28 Years Later remains sitting on my to-watch queue for some time. But, Netflix's new Southeast Asian horror film, The Elixir, managed to subvert my expectations turning out quite entertaining.
Superb Rhythm and Personal Growth
Among this movie's greatest assets is its superb rhythm. It kicks off using a striking initial scene in which a peaceful family party gets suddenly disrupted by a vehicle crashes into the guest area. Out of the van, a very undead-looking individual stumbles out proceeding attacking the partygoers. This dramatic moment is then followed by a look back, giving viewers to see this household before the tragedy occurred.
In contrast to many undead movies, The Elixir truly allows viewers enough opportunity to become acquainted with its main characters before the chaos begins. We meet Nes, a married mother with a ex close friend, Karina, is now married to her dad—a clearly awkward situation. This has predictably caused a falling out between Nes and Karina. We also see Nes' brother, Bang, who is kind-hearted but socially awkward, and he loves playing video games with Nes' young son, Raihan. Nes' husband, Rudi, seems to have lately cheated on her. The family head consists of Nes' father, who runs a popular natural medicine company called Wani Waras, and he appears to care about only two aspects: his business and his marriage to Nes' ex-best friend. Unsurprisingly, this family reunion is incredibly tense.
Engaged in the Conflict
I became so engrossed with this family's dynamics along with their personal conflicts to the point I almost forgot this was a horror film—something that could sound like a drawback, but ultimately worked well. The Elixir spends a considerable amount of its runtime depicting us the identity of every family member represents, plus the ways they contribute to the general turmoil. This focus on conflicting traits allowed me to connect with the characters sufficiently to be concerned for their outcome—an uncommon accomplishment for this style which frequently presents individuals only to kill them off shortly afterwards. The Elixir avoids portraying its characters as two-dimensional, disposable victims for a horde of the undead to consume, so it's a genuine surprise when things eventually go wrong.
Evocative of Parasite
The initial scenes of the party and various family interactions actually bring to mind the film Parasite, a story that masquerades like a Korean drama featuring somewhat morbid humor before making an abrupt shift into "holy shit" territory. These introductory scenes don't focus as much on comedy as Parasite, but The Elixir still gives enough time to settle into its world before everything gets turned upside down.
Original Zombification Source
The film additionally presents a fairly interesting reason regarding the origin of the spreading zombification. Rather than an accidental laboratory incident or a type of biological weapon, the source for this infectious condition originates in a new sample from Wani Waras herbal remedies developed by her dad. While we do learn something regarding its origins, I wish the film had spent additional focus explaining how Wani Waras transitioned from a reputable supplier of holistic medicine to producing a lethal potion which seems to include a highly contagious virus. Despite the limited context, the effect this affliction produces on people proves absolutely repulsive, and I appreciate. The Elixir's undead prove fast, bizarre in appearance, and, perhaps worst of all, constantly grinning. This is a daring decision, yet it succeeds. The Elixir's practical effects and CGI also appear very convincing, and they're almost certain to provoke a fear of holes.
Capable Characters
More impressive than the disgusting scenes is the cast themselves. Certainly, we see a few examples of dubious decision-making (like any any good undead film), but for the most part, Nes and her family are inventive and sharp. They also aren't afraid to kick an undead in the face, pierce it using a farm tool, or beat it on the skull with the nearest heavy object they find rather than standing still like a deer in headlights as death approaches.
Believable Familial Discord
The Elixir doesn't drop its focus of familial discord once individuals start turning to the undead, which was a pleasantly realistic subversion from that "We don't get along|"We have issues, but since you nearly died I immediately pardon you for all your mistakes!" cliché often seen in end-of-world movies. Obviously, Nes loves her family and cares about her husband, Rudi, yet it's equally clear she's still holding onto bitterness regarding his infidelity in their relationship. When the family gets separated, they agree via telephone to regroup at a close location. But when Bang admits he is unaware the way to the location, Nes expresses an immense level of irritation on her brother that's clearly been building for years. Nes is not flawless, and her family—flawed as it is—seem authentic and relatable because the film avoids attempting to push the idea that nearly dying instantly cures familial strife. This makes the moments where these individuals express appreciation toward one another seem far more genuine.
Stereotypical Conclusion
Despite The Elixir's best attempts to innovate, the conclusion is admittedly somewhat formulaic. The Elixir isn't really presenting any deep message about family or society, either. Rather, it's mostly serving up frights. Yet these are effective scares, and since the movie gives each character enough room to grow and doesn't punish them for their imperfections, the result proves an engaging and entertaining
