For the most part, I'm over apocalyptic horror. While classics like 28 Days Later and the early episodes from The Walking Dead were gripping, this category seems largely depleted at this point. Yet the much-awaited 28 Years Later remains gathering dust on my to-watch queue for some time. However, Netflix's new Southeast Asian zombie flick, The Elixir, managed to defy my expectations turning out remarkably entertaining.
One of this movie's strongest strengths lies in the superb rhythm. It kicks off with a striking opening sequence in which a peaceful family gathering is violently interrupted by a van plows right into the seating section. Out of the van, a very undead-looking stranger stumbles out and begins attacking the partygoers. This intense scene is then followed by a look back, allowing us to see the family prior to the tragedy occurred.
Unlike numerous undead movies, The Elixir truly allows viewers enough time to get to know the primary personalities before the chaos ensues. There's Nes, a wife and mother whose ex close friend, Karina, is now married to her dad—an obviously uncomfortable dynamic. This has understandably led to a falling out among Nes and Karina. Then there's her sibling, Bang, described as kind-hearted but a bit inept socially, and who loves playing video games with his nephew, Raihan. Her spouse, Rudi, seems to have recently been unfaithful to her. This household patriarch is Nes' father, who runs a well-known natural medicine company called Wani Waras, and he appears focused on just two aspects: his business and his marriage to Nes' former best friend. Needless to say, this family reunion proves extremely strained.
I became so invested with this family's dynamics along with their personal conflicts that I almost overlooked I was watching a horror film—which might seem like a negative, but ultimately worked well. The Elixir spends a considerable portion of the film to showing viewers who each relative represents, and how they contribute to the overall turmoil. This focus on clashing personalities allowed the audience to connect with the characters sufficiently to be concerned for their fate—an uncommon feat for this style that often introduces individuals only to eliminate them shortly afterwards. The Elixir doesn't treat its cast as two-dimensional, expendable casualties for an army of the undead to devour, so it's a real surprise when things finally deteriorate.
The opening sequences of the party and the multiple family interactions actually bring to mind the movie Parasite, a tale which disguises itself as a K-Drama featuring slightly dark comedy before making a sudden turn toward "holy shit" ground. These introductory scenes don't focus too heavily on comedy compared to Parasite, but The Elixir still gives sufficient opportunity to immerse in its world before it gets upended.
This movie also offers a quite interesting explanation regarding the origin of the spreading transformation. Instead of an accidental lab leak or a type of bioweapon, the source of this contagious disease stems from a new batch from Wani Waras natural medicines created by her dad. While some background is provided a bit about its origins, it would have been better if the film had spent a little more time explaining how Wani Waras went from a trusted purveyor of natural treatments to creating a lethal potion which seems to include a highly contagious virus. Despite the lack of context, the effect this condition has on people proves utterly disgusting, and I appreciate. The Elixir's zombies are fast, bizarre in appearance, and, maybe most disturbingly, always smiling. This represents a bold choice, but it works. The Elixir's physical effects and CGI also appear very convincing, and are almost guaranteed to provoke one's trypophobia.
More impressive than the disgusting scenes are the characters themselves. Certainly, there are some examples of dubious choices (like any any good undead film), but generally, Nes and her family show themselves inventive and sharp. Additionally, they don't hesitate to strike an undead in the head, stab it with a pitchfork, or hit it on the skull with the nearest blunt instrument they find instead of standing still like prey in headlights while danger approaches.
The Elixir doesn't drop its focus on family conflict once individuals begin transforming to the undead, which was a pleasantly realistic subversion from the "We don't get along|"We have issues, but since you nearly died so I instantly forgive you for everything! cliché frequently used in end-of-world movies. It's clear, Nes loves her family and values her spouse, Rudi, but it's also clear she remains holding onto bitterness regarding his infidelity in their relationship. When the family becomes split up, they decide over the phone to meet up at a nearby spot. However, once Bang reveals he doesn't know the way to the location, Nes expresses a massive amount of frustration toward Bang that's clearly been building over time. Nes is not flawless, and her relatives—with all their imperfections—seem realistic and understandable because the film doesn't try to push the idea that nearly dying instantly cures familial strife. This makes those instances where these individuals express gratitude for each other feel far more sincere.
In spite of The Elixir's strong efforts to break new ground, the conclusion must be said to be a bit stereotypical. The Elixir isn't really presenting some profound message about family or society, as well. Instead, it's mostly delivering frights. Yet these are successful scares, and since the film allows every personality sufficient space to develop and avoids penalizing them for having flaws, the result proves an engaging and enjoyable
A tech journalist with over a decade of experience covering emerging technologies and digital innovation across global markets.
