The streaming giant's Surprising New Zombie Movie Breathes New Life into a Overused Category

For the most part, I've grown tired of zombie movies. While classics like 28 Days Later along with the initial seasons of The Walking Dead proved gripping, this category feels mostly exhausted nowadays. Even the much-awaited 28 Years Later remains gathering dust in my watchlist for some time. However, Netflix's new Indonesian horror film, The Elixir, managed to subvert what I anticipated and proved remarkably enjoyable.

Impressive Pacing and Character Development

Among this movie's greatest assets lies in the excellent rhythm. It kicks off with a memorable opening sequence in which a peaceful family party is violently disrupted when a vehicle crashes into the guest area. From the wreckage, a very undead-looking stranger stumbles out and begins assaulting the attendees. This dramatic moment is immediately succeeded by a look back, giving viewers to see the family prior to the tragedy occurred.

In contrast to many zombie films, The Elixir actually gives the audience sufficient opportunity to get to know its main personalities prior to the carnage ensues. There's Nes, a wife and mother whose former close friend, Karina, has become wed to Nes' father—a clearly uncomfortable dynamic. Naturally, this has understandably led to a rift among the two women. Then there's Nes' brother, Bang, who is good-natured but a bit inept socially, and who enjoys gaming alongside Nes' young son, Raihan. Her spouse, Rudi, seems to have recently cheated on Nes. This household patriarch consists of Nes' father, who runs a popular natural medicine company named Wani Waras, and he seems to care about only two aspects: his work and his marriage to his daughter's ex-best friend. Unsurprisingly, this gathering is extremely tense.

Engaged in the Conflict

I found myself so invested in the family's dynamics and their personal conflicts to the point I almost forgot I was watching a scary movie—which might sound like a negative, but ultimately paid off. The Elixir spends a considerable portion of the film to showing us the identity of every relative is, plus the ways they add to the general turmoil. This emphasis on conflicting personalities enabled me to relate to the personalities enough to be concerned for their fate—a rare feat in a genre which frequently introduces individuals only to eliminate them shortly afterwards. The Elixir avoids portraying its cast as flat, expendable casualties for an army of zombies to consume, thus it's a real shock when things finally deteriorate.

Evocative of Parasite

The opening sequences from the gathering and various household exchanges actually bring to mind the film Parasite, a tale which disguises itself like a Korean drama with somewhat morbid comedy before making an abrupt turn into "holy shit" ground. These introductory scenes don't focus as much on humor as Parasite, yet The Elixir still gives sufficient opportunity to settle into its world before everything gets upended.

Original Infection Source

This movie additionally presents a fairly interesting explanation for the source of the contagious zombification. Instead of a unintended laboratory incident or a type of biological weapon, the source of this infectious condition stems from a new sample from Wani Waras herbal remedies created by her dad. While we do learn something regarding how it started, it would have been better if the movie had spent additional time on how Wani Waras went from a trusted purveyor of holistic medicine to producing a lethal potion that appears to contain a highly contagious virus. Regardless of the limited context, the impact this affliction produces on humans proves absolutely repulsive, which I love it. The Elixir's zombies are quick, bizarre in appearance, and, maybe most disturbingly, always smiling. This is a bold decision, yet it works. The Elixir's physical effects and computer graphics also appear quite convincing, and are practically guaranteed to provoke a fear of holes.

Capable Personalities

More impressive compared to the disgusting scenes is the cast themselves. Certainly, there are some examples of questionable choices (like any typical undead film), however for the most part, Nes and her family show themselves inventive and sharp. They also don't hesitate to kick a zombie in the face, pierce it using a farm tool, or hit it over the head with whatever heavy object is available instead of freezing like a deer caught in lights while danger approaches.

Believable Family Strike

The Elixir doesn't abandon its focus of familial discord once individuals start turning into zombies, this proved a pleasantly authentic deviation from that "We don't get along|"We have issues, but since you nearly died I immediately pardon you for all your mistakes!" trope frequently used in end-of-world movies. Obviously, Nes cares for her relatives and values her husband, Rudi, yet it's equally apparent she remains clinging to resentment regarding his infidelity in their relationship. Once the household gets separated, they agree over the phone to meet up at a close location. But when Bang reveals he doesn't know how to get there, Nes unleashes an immense amount of frustration on her brother that's clearly been brewing over time. Nes isn't perfect, and her family—with all their imperfections—feel realistic and relatable since the movie avoids attempting to promote the notion that a near-death experience immediately resolves family tensions. This causes the moments where these individuals express appreciation toward one another feel far more genuine.

Stereotypical Conclusion

Despite The Elixir's strong efforts to break new ground, the conclusion must be said to be a bit formulaic. The Elixir doesn't truly offering up any deep insight regarding relatives or community, either. Instead, it's primarily delivering scares. But they're successful scares, and since the movie gives each character sufficient space to grow and avoids penalizing them for having flaws, the result is a captivating and entertaining

John Sanders DDS
John Sanders DDS

A technology journalist and cultural analyst based in London, focusing on digital innovation and its societal implications across the UK.