I’m “biast” (con): …but it’s rare to find anything fresh in the subgenre
(what is this about? see my critic’s minifesto)
A few years after a global zombie outbreak has been quelled, the city of Dublin is preparing to release the last of those cured of the virus back into the population. Cured Sean (Sam Keeley: Megan Leavey) is taken in by his widowed sister-in-law, American journalist Abbie (Ellen Page: Flatliners), and her young son, Cillian (Oscar Nolan); her generosity comes in the face of not only the generalized animosity, mistrust, and outright violence the cured are subjected to, but also the fact that her husband, Sean’s brother, was killed in the zombie chaos.
The film, the feature debut of writer-director David Freyne, is slow and mild in exploring Sean’s guilt (most of the cured remember what they did under the influence of the virus, and he has nightmares about it), Abbie’s grief, and society’s bigotry, and then, as if realizing he doesn’t have enough there there, Freyne tosses in further complications that will also remain underexplored. The most frustrating of these is the metaphor for Irish sectarianism that comes via Sean’s fellow cured, Conor (Tom Vaughan-Lawlor: Becoming Jane), who turns militant and sides with the zombies still in custody who have not responded to the treatment. But also too tepid are the threads of narrative about Abbie’s journalistic investigations into Conor’s terroristic “Cured Alliance” and the urgency of cure developer Dr. Joan Lyons (Paula Malcomson: The Hunger Games: Mockingjay – Part 2) to treat the so-far incurable.
Freyne’s attempts to create suspense and drama by withholding too much just leave us feeling disconnected, until too-pat resolutions leave us unsatisfied. This isn’t the first zombie-cure story we’ve had recently — the 2014 Spanish-Canadian film The Returned is terrific — but unfortunately The Cured makes it feel like this new twist to the subgenre is already played out.