Wrymwood: Apocalypse (2021) Review

In a zombie-infested Australian wasteland, soldier Rhys has dedicated his life to tracking and capturing survivors for the Surgeon General in hopes of finding a cure. A post-apocalyptic zombie film that follows him on an arc of redemption as he turns against his evil bosses to join forces with a group of rebel survivors, in hopes to save a girl’s mother from death.

Back in 2014 Australia delivered a nasty yet fresh indie zombie flick with more verve than budget, pumping out an admirably unique take on a somewhat tired sub-genre. Whilst many undead affairs take their narrative down a more solum route, banking in on slow-burn tension and character drama over all-out gore warfare, something to be expected on the lower budget zombie movies as Cargo and The Night Eats the World.

On the flip side we have powerhouse production companies pumping out action-laced flesh-eating chaos with Army of the Dead, Train to Busan and even Zombieland: Double Tap, relying on a lot more than a few wondering zombies to hook its audience. Whilst it’s simply down to your own personal taste which side of the fence you fall on, it’s safe to say Wyrmwood captured the chaotic essence of a big budget feature with all the charm of an indie cult classic.

Seven years later and Wyrmwood has made its return, this time with a lot more cash stuffed into its back pocket, with seemingly a lot less to show. Opting for a more vibrant approach this time around, Apocalypse plays like an eccentric comic book stripped from its page and placed on the screen, even if it does reek of a bargain bin purchase more often than not. It’s certainly a risk debatably worth taking, hindering itself with moments of absurd silliness that detract from its glimmer of genius.

There is something overtly cheesy about the overall endeavour, yet not without charm and individuality; even if its approach is more ham-fisted than tasteful. Then again, what’s tasteful about a narrative that describes itself as Mad Max meets Dawn of the Dead? You know what you’re getting into with a movie like this, and if its what tickles your pickle then strap on in.

A few fascinating elements at play prevent Apocalypse from being completely inept, aspects like that feel like fresh cut of bread sandwiching some questionable gruel. Most notably a final act that injects itself with a vibrantly chaotic sense of fury, a lively essence you wish it held with more consistency.

Moments involving the suicide bomber zombies are a riot, but most admirable however is its fascinating narrative device on how its central characters use the zombies as fuel, a strangely relevant plot point given the current climate of the energy crisis. Who would have thought a disposable sequel such as Apocalypse could actually be somewhat metaphorically poetic?

Aside from the above statement, it’s hard to shake the feeling Apocalypse could have been so much better. Whilst it’s undeniable its predecessor’s narrative has been elevated, its flesh (like the zombie’s itself) just feels a little rotted here, failing to prove to us a purpose for its existence in the first place.

A decent cast and some certified brilliant practical effects make for a passable follow-up for fans of its original, but let it be known that maybe this is a sequel for its dedicated target audience, as everyone else might struggle to tackle its acquired flavour.

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