Lack of good storyline.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

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.

I haven't yet seen this film from beginning to end yet as it's always shown very late at night on British TV. What I have seen I've enjoyed but I don't think that it is primarily a Zombie movie, it is more a 'man against adversity' movie and the antagonists could have been bandits, deserters, native Americans, escaped slaves, degenerate backwoodsmen, almost anything. Of course the wife and son thing would have been problematical but not impossible. The one thing that let this movie down for me was the soundtrack. Either the copy that is being shown on British TV has a serious fault or else the film had the worst sound recordist in the history of film. As I said earlier this movie is only shown late at night so I have to watch it with the sound turned down and it is absolutely impossible to hear the narrative due to the background music overwhelming it - by about 40dB.

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.

Unfortunately, Geddes trots out every zombie cliché, hoping that a little 'Ken Burns' gloss can make it seem like an original take. Sorry – after the previous decade of 3rd-party perspective, secondary characterexploration and vampire/zombie treatments of classic literature, the POV is waaay beyond played.Just trying to view the film on as a straightup zombie tale , ignoring the borrowed comic-book flourishes and delusions of Tarantino - it still becomes unwatchable. A hero with an endless supply of ammo, wary of attack yet constantly and obviously strolling into danger....it would be a snore – except the threadbare plot is too annoying to let the viewer sleep.