Exit Humanity

A unique and well done dramatic zombie period piece. The rustic technology free setting creates nice isolation which helps increase the tension. I love zombies, and these zombies are the best I've seen in a long time. Not just the makeup, which was great, but the acting and serious tone of the movie, help it excel. The music was wonderful, while the acting and narration was well done. The animation added an art-house feel, yet not overused. Not a typical horror film, but a serious drama about humanity. Definitely going to keep an eye on this director. I wish there was more of a scare element. I give it 7 out of 10 stars.

A narrator (Brian Cox) reads a journal from the 19th century about the outbreak of the dead returning to life. It's 1865 Tennessee. Edward Young (Mark Gibson) is a Confederate soldier who encounters undead Union soldiers. Six years later, his home is attacked, his wife killed, and his son Adam goes missing. He finds him turned and has to destroy the body. He is in despair after losing everything. He finds Isaac in a desolate farmhouse.

This small Canadian horror indie is too slow and too long. There isn't enough to justify the extended length. I can deal with the indie factor but it needs to be tighter. The lengthening of every scene strips away much of the needed intensity. I would also definitely eliminate reading the journal aspect. This concept of a zombie apocalypse in Civil War era is intriguing and could be compelling for an indie. The execution here is unable to make this good enough to seek out.

Zombies. They're everywhere. They're on our DVD shelves, on our television screens and in our Netflix queue's. Their hunger for human flesh seems only equaled by their hunger for our entertainment viewing time.

We've long thought and wrote that zombies, by nature, are a boring antagonist. Whether fast (28 Days Later) or slow (Night of the Living Dead), zombies have little character, can do little more than moan, and are usually only scary when accompanied by a horde of other flesh eating zombies.

A quick Google search of zombie films listed over 700 titles which would suggest that the genre from which George Romero made a career has been done (dare we say it….) to death.

The oversaturation of the zombie genre mustn't have been lost on writer/director John Geddes. His awareness of the 'been there, done that' factor must have been electrifying the talented Canadian's synapses when he began scripting Exit Humanity – a zombie film set shortly after the American Civil War in the 1870's.

Exit Humanity follows a solider by the name of Edward Young (Mark Gibson in a thoroughly convincing role) who is returning to his homeland after the American Civil War. The War might be over, but the fight as just begun. Zombies run the landscape and when Edward's wife turns, Edward is forced to kill her in gruesome fashion. Edward then embarks on a journey to find his son – a journey that will be fraught with the undead.

Director John Geddes does a fantastic job of making the landscape and the era a character unto itself in the film. The location shoots standing in for America circa 1870's is what gives Exit Humanity a creative edge in a tired genre. But where praise can be lauded for the setting, issue can be stated for the length of the film combined with a seriousness that alienates a bloodthirsty audience hungry for splatter. Long stretches of monotone description and explanation fell flat and left us bored and indi-glowing our wristwatch to determine the remaining minutes of the ordeal.

There is a good story to be told here, it is just executed with such a lack of urgency that it wears down its audience and wastes supporting roles by Bill Moseley, Dee Wallace and Stephen McHattie not to mention a fascinating narration by Brian Cox that supports the animated sections of the film which are unarguably the film's high points.

While waiting in line and reading the Toronto After Dark program and their description of the film, we were hoping for a Dead Birds (2004) type of horror periodic. Instead, we got an interesting but ultimately defective experiment. One that slipped more than it gripped and was flawed more than it gnawed.

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Exit Humanity is not a movie to watch for action, blood and gore. It's a slow period piece that follows one man's journey of survival through an undead outbreak after the civil war.

It's got a great 1860's feel to it, pretty good acting and script, a plot with lots of potential, and is interspersed with some superb narration & animated sequences.

But there are 2 major flaws to Exit Humanity:

1) It is Slow. This movie is about 110min long, and it should have been 80. Long periods given to the protagonist's grief should have been pared down.

2) The script/plot touches onto the history and ancient origin of the undead, and a possible cure, but doesn't go further. I was hoping the protagonist would continue his journey of discovery concerning the undead - which via his journal, would connect & help fight the 20th century outbreaks. But no, this potentially exiting avenue was left unexplored.

Pretty good movie: I give Exit Humanity 6 out of 10.

Civil War zombies! Yes, EXIT HUMANITY has the distinction of being a historical zombie flick, an extremely limited sub-genre at present, so it has novelty value going for it. Unfortunately it turns out that this ultra-cheap Canadian quickie was filmed in the woods without a whole lot of originality or indeed direction despite the intrigue raised by the premise.

The main character is a former soldier who wanders around some very mundane locales while battling a few zombies here and there. The lack of budget really hurts this film, as it's often forced to descend into dodgy animation in order to portray key sequences. The effect is amateurish to say the least and the main actor doesn't really inspire much confidence in the viewer either.

There are a few conversations on the nature of war and the like before this descends into characters stumbling around in near-darkness and killing each other. There are a few familiar faces here (Dee Wallace and Bill Moseley, along with Brian Cox providing the narration) but otherwise nothing much to recommend it.