The streaming giant's Unexpected Latest Undead Movie Injects New Life into a Overused Genre

Typically, I've had my fill of undead films. Although classics like 28 Days Later and the early episodes from The Walking Dead were enjoyable, the genre seems mostly depleted at this point. 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 my expectations turning out remarkably enjoyable.

Excellent Pacing and Character Development

One of this movie's greatest assets is its superb rhythm. It begins with a striking initial scene where a calm family gathering is violently disrupted by a van crashes right into the guest area. From the wreckage, an extremely zombie-like stranger emerges proceeding attacking the partygoers. This dramatic moment is immediately succeeded by a look back, giving viewers to see this household before the tragedy struck.

In contrast to numerous zombie films, The Elixir truly allows viewers enough opportunity to become acquainted with its main personalities before the chaos ensues. There's Nes, a married mother whose former close friend, Karina, has become wed to Nes' father—a clearly uncomfortable dynamic. Naturally, this has predictably led to a rift between Nes and Karina. We also see Nes' brother, Bang, who is good-natured yet a bit inept socially, and he loves gaming alongside Nes' young son, Raihan. Nes' husband, Rudi, appears to have recently cheated on her. The family patriarch consists of her dad, who runs a well-known natural medicine business called Wani Waras, and he seems focused on just two aspects: his work and his wife to Nes' ex-best friend. Needless to say, this family reunion is extremely tense.

Engaged in the Conflict

I became so invested in the family's dynamics along with their interpersonal drama to the point I almost forgot I was watching a scary movie—something that could sound like a drawback, but in the end worked well. The Elixir dedicates a significant portion of its runtime depicting viewers who each relative is, plus the ways they contribute to the overall turmoil. This focus on clashing personalities allowed the audience to connect to the personalities sufficiently to care about their fate—a rare accomplishment in a genre which frequently introduces individuals just to kill them off shortly afterwards. The Elixir doesn't treat its characters as flat, expendable casualties for an army of the undead to consume, so it's a real shock once events finally go wrong.

Evocative of Parasite

The opening scenes from the gathering and various family interactions in fact evoke the movie Parasite, a tale which disguises itself like a K-Drama featuring slightly dark comedy prior to making a sudden turn into shocking ground. These early scenes aren't centered as much on humor as Parasite, but The Elixir nonetheless provides sufficient time to immerse in the setting prior to it gets turned upside down.

Unique Zombification Origin

This movie additionally presents a fairly intriguing reason regarding the origin of the spreading zombification. Instead of a unintended lab leak or some sort of bioweapon, the source of this infectious condition stems from a new batch of Wani Waras herbal remedies developed by her dad. While we do learn a bit about how it started, I wish the film had spent additional time on how Wani Waras went from a reputable supplier of holistic medicine to creating a deadly potion which seems to contain an extremely infectious pathogen. Regardless of the lack of context, the effect this condition has on people proves utterly repulsive, which I love it. The Elixir's undead are quick, freaky-looking, and, perhaps worst of all, always smiling. This represents a bold decision, yet it succeeds. The Elixir's practical effects and computer graphics are also quite realistic, and are practically certain to provoke a fear of holes.

Resourceful Personalities

More impressive than the gross-out moments are the characters themselves. Certainly, there are a few instances of dubious decision-making (as in typical zombie movie), however for the most part, Nes and her family are resourceful and quick-thinking. Additionally, they aren't afraid to strike an undead in the face, pierce it using a farm tool, or beat it over the head with the nearest heavy object is available rather than standing still like a deer caught in lights while danger nears.

Believable Familial Discord

The Elixir doesn't abandon its themes on family conflict once individuals begin transforming to the undead, which was a welcome realistic deviation from the "We don't get along|"We have issues, but since you nearly died so I instantly forgive you for everything! trope often seen in end-of-world movies. Obviously, Nes cares for her family and cares about her spouse, Rudi, yet it's equally apparent she's still clinging to bitterness regarding his infidelity of their marriage vows. When the family gets separated, they agree over the phone to meet up at a nearby spot. However, once Bang admits he is unaware the way to the location, Nes expresses an immense amount of frustration on her brother which has obviously been brewing for years. Nes isn't flawless, and her relatives—flawed as it is—seem realistic and understandable because the film avoids attempting to push the idea that nearly dying instantly cures familial strife. This causes the moments where these individuals express gratitude toward one another feel much more sincere.

Predictable Ending

In spite of The Elixir's strong efforts to break new ground, the ending is admittedly a bit formulaic. The Elixir doesn't truly offering up any deep message about family or society, as well. Instead, it's primarily serving up scares. But they're effective frights, and because the film allows every personality sufficient space to grow and avoids penalizing them for their imperfections, the outcome is an engaging and entertaining

Andrew Ritter
Andrew Ritter

A digital strategist and educator passionate about making complex topics accessible through engaging storytelling.

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