Netflix's Unexpected Latest Undead Movie Injects New Life into a Stale Genre

For the most part, I've had my fill of apocalyptic horror. Although classics like 28 Days Later along with the initial seasons of The Walking Dead proved enjoyable, 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 latest Indonesian zombie flick, The Elixir, succeeded in defy what I anticipated turning out remarkably entertaining.

Superb Pacing and Character Development

One of the film's strongest strengths lies in the superb pacing. It kicks off with a striking initial scene in which a calm family gathering gets suddenly disrupted when a vehicle crashes right into the seating section. Out of the van, a very zombie-like individual emerges proceeding assaulting the partygoers. This dramatic moment is immediately followed by a flashback, allowing us to observe the family prior to the tragedy struck.

Unlike numerous zombie films, The Elixir actually allows viewers enough time to get to know its main characters before the chaos ensues. There's Nes, a married mother with a former close friend, Karina, has become wed to her dad—a clearly awkward dynamic. This has predictably 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 enjoys playing video games with his nephew, Raihan. Nes' husband, Rudi, appears to have lately cheated on her. This household patriarch is her dad, the owner of a popular natural medicine business called Wani Waras, and he seems to care about just two aspects: his work and his marriage to his daughter's former best friend. Unsurprisingly, this family reunion is incredibly strained.

Engaged in the Drama

I found myself so invested with this family's dynamics and their personal conflicts that I almost forgot this was a scary movie—something that could sound like a drawback, but ultimately paid off. The Elixir dedicates a significant portion of its runtime depicting us the identity of every relative is, plus the ways they contribute to the general turmoil. This emphasis on clashing personalities allowed the audience to relate to the personalities enough to be concerned for their outcome—a rare accomplishment for this style that often presents characters only to kill them off shortly afterwards. The Elixir doesn't treat its characters as two-dimensional, disposable victims for an army of zombies to devour, thus it's a real shock once events finally go wrong.

Evocative of Parasite

The initial scenes of the party and various family interactions actually evoke the film Parasite, a story which disguises itself like a Korean drama featuring somewhat morbid comedy prior to taking an abrupt shift into shocking territory. These introductory moments aren't centered too heavily on humor as Parasite, yet The Elixir nonetheless gives enough opportunity to settle into the setting prior to it gets turned upside down.

Unique Zombification Source

This movie also offers a quite intriguing reason regarding the origin of the spreading zombification. Instead of an accidental lab leak or some sort of biological weapon, the source of this infectious condition stems from a recent batch from Wani Waras natural medicines created by Nes' father. While some background is provided a bit about its origins, I wish the film had spent a little more focus explaining how Wani Waras went from a trusted purveyor of holistic medicine to producing a deadly potion which seems to contain an extremely infectious virus. Regardless of the limited context, the effect this condition has on people proves utterly disgusting, which I appreciate. The Elixir's undead are fast, freaky-looking, and, perhaps worst of all, always smiling. This is a daring decision, but it succeeds. The Elixir's practical effects and CGI also appear quite realistic, and are practically certain to trigger one's trypophobia.

Capable Characters

Even better compared to the gross-out scenes is the cast themselves. Of course, we see a few examples of dubious decision-making (like any any good undead film), however for the most part, Nes and her relatives show themselves inventive and sharp. Additionally, they don't hesitate to strike a zombie in the face, stab it using a farm tool, or hit it on the skull with whatever heavy object is available rather than freezing like a deer in headlights as death nears.

Believable Family Discord

The Elixir doesn't drop its themes of familial discord when people begin transforming into zombies, this proved a welcome authentic subversion from the "We don't get along|"We have issues, but you almost died I immediately pardon you for all your mistakes!" cliché often seen in apocalyptic movies. Obviously, Nes loves her relatives and cares about her husband, Rudi, yet it's equally apparent she's still clinging to resentment regarding his infidelity of their marriage vows. When the family becomes split up, they agree over the phone to regroup at a nearby location. But when Bang admits he doesn't know the way to the location, Nes unleashes an immense amount of frustration on her brother which has obviously been building over time. Nes is not flawless, and her relatives—flawed as it is—feel authentic and relatable since the movie doesn't try to push the idea that nearly dying instantly cures familial strife. This makes those instances when these characters express gratitude toward one another seem far more sincere.

Stereotypical Ending

In spite of The Elixir's best attempts to break new ground, the ending is admittedly a bit stereotypical. The Elixir doesn't truly presenting any deep message regarding relatives or society, either. Rather, it's primarily serving up frights. Yet these are effective scares, and since the movie gives each character sufficient space to develop and doesn't punish them for their imperfections, the outcome is an engaging and enjoyable

Laura Lucero
Laura Lucero

A passionate chef specializing in Indian cuisine, sharing family recipes and modern cooking methods.