German zombie movie adds nothing to the genre, still entertaining
I pity the zombie genre. The undead have become so steeped in popular culture, zombies have begun to loose that special quality that made them so lovable. While once a zombie movie was something to look forward to and relish, today zombie movies, books, comics and toys clog the public consciousness like paper towels shoved down a toilet.
Rammbock, a German entry into the zombie genre, had a rough time winning me over. On the surface, there’s nothing new in the film and little special to separate it from the rest of the crowd. Despite this, director Marvin Kren and writer Benjamin Hessler managed to trick me into dropping my defenses and, without warning, I found myself enjoying the film — digging the tight narrative structure that the movie builds in its relatively short running time.
Michael Fuith stars as Michi, a man who travels to Berlin in hopes of winning back his ex-girlfriend. Within minutes of entering the city, though, he finds himself trapped in her apartment as a zombie outbreak spreads across the city. Michi’s ex, Manni (played by Carsten Behrendt), is missing. Instead of finding Manni inside her apartment Michi runs into Haper, a young maintenance worker, who winds up being Michi’s main companion and survivor partner. Together, the two men attempt to establish contact the other trapped apartment residents and search for Manni (who Michi still believes to be somewhere inside the apartment).
Being trapped in an isolated location is a staple of the zombie genre and one Rammbock embraces. The zombies in the film are of the modern variety — they are fast, brutal and angry as hell. Michi and Harper can’t venture outside of the apartment’s door without being overwhelmed by a mob of the infected — leaving them with few options.
The word Rammbock is German for battering ram — something the two wind up building as a way to escape from their hiding spot and find food. Rammbock is short (61 minutes) and ultimately pretty sweet. There’s not much going on in the film that you haven’t already seen but Marvin Kren provides a pretty unique visual style that at least gives the film a slight edge over the scraps in its genre. Shot on digital, the film has a gritty 28 Days Later look to it. Unlike Danny Boyle’s film, though, there’s a sense of humor that penetrates the surface.
There’s an oddness about the film that pops in every now and then to catch audiences off guard. From Michi finding a bear costume and wearing while he sleeps to the use of a digital camera in order to fight the zombie hoards, there are just the inklings of an off-kilter approach present in Rammbock — not enough to have a Shaun of the Dead on your hands but enough to provide an enjoyable experience.
In the end, though, the movie is what it is and what it is is your standard zombie apocalypse film. There’s the hero searching for his loved one, the Rio Bravo-esque standoff and enough blood and gore to get your heart pumping.
I enjoyed the relationship drama between Michi and Manni — especially the way it resolved itself. An odd choice to also provide a last-minute love interest for Harper didn’t feel as well developed, though, and stuck out a bit. Rammbock takes a while to pull in audiences. That bit of a drag at the beginning combined with the short running time makes for a mixed experience. I can say I enjoyed Rammbock but I have no desire to watch it again — rewarding multiple viewings being something I enjoy about the best of the zombie genre.
Rammbock is worth viewing if you haven’t already tired of films of the undead and if you’re hankering for a new fix. The film’s cast and visual style is of a high enough quality to reward your viewing experience. If you have any hesitation about zombie movies, though, Rammbock is by no means required viewing. If anything, it’s the perfect appetizer for any scary movie marathon you might be planning — which makes the fact that the film will receive American distribution all the more excellent.
Director: Marvin Kren
Notable Cast: Carsten Behrendt, Michael Fuith, Theo Trebs
Writer: Benjamin Hessler
