Craving a zombie horror that sidesteps the genre’s brain-dead clichés, especially one that might have slipped under your radar? The Canadian indie zombie horror Pontypool (2008), based on the novel 'Pontypool Changes Everything' by author Tony Burgess is definitely worth checking out. It puts a fresh spin on the concept of the “infected” in a subgenre that often follows the same checkpoints, setting it apart from your average zombie flick.
Confined to the space of a cozy little radio station, the small Ontario town of Pontypool becomes the setting for this single-location horror. Grant Mazzy, played by Stephen McHattie, the beating heart of the movie, delivers a memorable performance as the grizzled radio host of 660 Beacon.
Earlier, while driving through the snow to the station, Grant encounters a bizarre incident: a woman suddenly appears, banging on his car window, only to vanish just as quickly. This strange encounter sets the tone as he begins his opening monologue, warming up the listeners with light chatter, unaware that much darker events are about to unfold.
The movie plays as a slower, psychological burn, rather than succumbing to the chaotic, fast-paced, action-driven zombie flicks we’re accustomed to, and to be honest, its restrained approach feels refreshing. Anchoring the evening alongside Mazzy are the no-nonsense station manager Sidney (Lisa Houle) and their assistant, Laurel (Georgina Reilly).
We follow this group of characters throughout the evening as they attempt to make sense of the strange, escalating situation unfolding around them and in the outside world. The movie scratches the surface with just enough “zombie” elements to satisfy genre expectations without sacrificing its atmospheric identity, which not only forms its core but also stands as its greatest asset, the thing that keeps us fully invested.
The pulse of Pontypool thrums through the airwaves, where Grant’s gravelly voice binds listeners to the 660 Beacon and their dedicated correspondent, Ken, who is stationed outside, high above in the Sunshine Chopper. From his lofty vantage, Ken’s frantic reports paint a hellscape below, with explosions, deaths, and widespread destruction. These crackling broadcasts, raw and urgent, offer fragmented pieces of a chilling puzzle. Yet, the full picture remains elusive, ultimately left to us, the viewers, to interpret as we see fit.
As events unfold, the drama and rising tensions between the main characters at the station begin to take center stage. The confined space and mounting uncertainty among the group ramp up the stakes, creating a sense of claustrophobic dread. The pressure builds as the night deepens, and the characters are forced to confront the increasingly bizarre and dangerous situation around them.
As the movie moves into its later acts, we start to uncover the mystery behind the virus at the heart of the chaos, a threat that stands out as refreshingly unique. It’s a departure from the usual zombie tropes, with the infection's nature unfolding in unexpected ways. This distinct take on the genre keeps things intriguing and maintains a sense of tension that lingers through the movie’s final acts.
But could the mystery in Pontypool have been more impactful in its reveal? While it keeps you hooked from start to finish, the movie does leave something to be desired in its final stretch. The intrigue and tension are sustained throughout, but as the conclusion approaches, it feels like the concept itself begins to overshadow the narrative. The final reveal, though not disappointing in itself, feels somewhat underwhelming, leaving us craving a bit more in those crucial moments. It’s not that the reveal falls flat, but rather that the execution doesn't quite deliver the payoff we were hoping for.
Regardless of where you fall on the spectrum, Pontypool is sure to spark debate. Yet, one thing is undeniable: In the world of zombie movies, it certainly holds its ground as one of the more striking entries.