Anna and the Apocalypse is an utter thrill. Who knew we needed a British set, zombie Christmas movie musical centered around a suburban high school? After witnessing this holiday miracle, we so do!
As our film commences, Anna, her BFF John and her father, Tony, are driving to school through the streets of Little Haven in merry ole England. Everything we need to know about these three is laid out with an excellent and efficient exposition. Anna wants to travel to Australia for a year before university, John has dreams of going to an artistic university to fulfill his aspirations and Tony works at their school—thus the carpool! Oh, and there’s an unspoken and unfulfilled romantic tension between the BFFs that exists in John’s heart and is utterly absent from Anna’s. He’s in the friend zone and going nowhere fast. There is also the news on the radio that some sort of disease is rapidly infecting folks and there does not seem to be any cure. After we hear that, Anna immediately changes the station.
Betting that has something to do with the horde of zombies that will soon inhabit this sleepy little English hamlet.
Also achieved in the early moments of the film is that the school administrator, Arthur Savage (Paul Kaye), has designs on being the next headmaster and he is just slightly obsessed with order and imposing his will on not only the student body, but those who work at the school, i.e. his disdain for Tony seems to know no ends. We also meet those who inhabit Anna’s universe. There’s the couple whose passion is palpable, Lisa (Marli Siu) and Chris (Christopher Leveaux). She’s a wickedly talented singer (who slays at the Christmas talent show) and he is an aspiring filmmaker who documents everything with his phone’s video camera. Oh, and there’s a bit of a full of himself bully Nick (Ben Wiggins), who we learn Anna—regrettably—hooked up with and maybe even dated.
Last, but not least, there is Steph (Sarah Swire), a lesbian whose wealthy parents seem to spend more time abroad than they do with their needs their attention and affection daughter. In fact, they’re in Mexico enjoying the sunshine and have left their daughter alone at Christmas.
As is the case in most zombie movies, the presence of the walking dead occurs slowly at first, and almost insignificantly. Then, as the presence of peril escalates, so too does the number of those brains-seeking undead. With the backdrop of Christmas, it is the most fascinating and compelling of juxtapositions that is uniquely enhanced by our characters breaking into the most catchy, compelling and plot-pushing songs one could imagine. It all adds up to a zombie movie unlike any ever witnessed, a Christmas flick that resembles nothing that came prior and a musical that will have audiences dancing in the aisles (and surely purchasing the soundtrack) while our protagonists belt out instant classic tracks while bludgeoning zombies!
This entire endeavor fails if the titular character isn’t captured in a manner that commands our adoration and attention. Actress Ella Hunt is a fantastic find. With only 11 credits to her name (thus far), she illustrates that her talent is a multifaceted threat. Her dramatic, comedic, dancing and singing skills are all on full display. Hunt brings nuanced elements to her Anna characterization that are rivetingly rich. She provides audiences a steady and calming island while we all keenly know that the waters around her are raging. After all, the word “apocalypse” is in the title. This world will never be the same and there is nothing we want more than for Anna, specifically, to not only survive, but to flourish. Hunt also stunningly exhibits powerful and charismatic chemistry with every soul that she shares scenes with throughout. One can see why John is (and has been) so smitten with her. What’s not to love?! She’s also every father’s dream daughter with the way she cares for and cares about her dad—all while zombies are slowly, but surely, decimating Little Haven.
Malcolm Cumming is so endearing as John. One wants to see this guy see his affections reciprocated because he is such a good and giving soul. Siu and Leveaux slay as a high school couple that impeccably capture that time when your significant other is everything and all you want to do is just sit there and make-out with them for hours upon hours. They nail it. Then, there’s the pained aspiration of Steph. In the hands of Swire, all of her layers are pitch perfect—from her journalistic desire to write about something in her school paper that actually makes a difference (such as her idea about homelessness on Christmas) and the complicated nature of being an “out” student in a school that has its fair share of “judgy” souls, such as Wiggins’ Nick. Even his turn is a triumph. This could have been a two-dimensional “bully” character that is brought to life by the young actor in a way that one could see—when all is said and done—why Anna would even be interested in this jock.
Everything in this movie is on purpose. I mentioned the word efficient here and it is an impeccable descriptor. After all, this flick is 117 minutes long and so much occurs—between the musical numbers, the possibility and raw reality of romance on many fronts, a power struggle within the school among a few students and the aspiring headmaster and of course, that pesky zombie invasion. Heck, even the name of the locale of Anna and the Apocalypse is deliberate. One has the inkling that this British village will hardly be a “Haven” anymore when all is said and done.
Screenwriters Alan McDonald and Ryan McHenry have done an extraordinary job. After all, look at everything I’ve stated are such powerful elements of this wickedly entertaining and concise toe-tapping tale … it all must start and finish with the script. Working closely with them was composers Roddy Hart and Tommy Reilly. After all, those lyrics move the dramatic needle as much as the prose between characters. Plus, those songs are so well crafted and perfectly performed by the cast.
Director John McPhail too deserves heaps of credit for one dazzlingly delightful cinematic experience. He threads the most difficult of needles that is the aforementioned mix of movie styles. McPhail’s touch is incredible with the subject matter, the staging of the musical numbers and most importantly, his work with the young cast that is bringing to life something that truthfully, we’ve never seen before. It is a titanic triumph, no matter which angle that you are gazing at Anna and the Apocalypse.
There is one bonus feature and it dazzlingly pulls the entire behind-the-scenes making of the movie together in a manner that befits the tone and nature of the film itself. Even if there were no bonus features, honestly, this film is a must-own. I cannot wait to pop it in the player over the holidays, and every chance I get from that point after.
Film Grade: A
Bonus Features: A