Newest Reviews
Equalizer 2, The
Ski School
Ant-Man and the Wasp
Age of Shadows, The
Mission: Impossible - Fallout
First Reformed
Red White and Zero
Death Wish
Cry Wilderness
Heiresses, The
Millhouse: A White Comedy
Born of Fire
Teen Titans Go! To the Movies
Sweet November
Ballad of Buster Scruggs, The
Real Men
Incredibles 2
Big House, The
Night Eats the World, The
War Bus
Back to Berlin
Leave No Trace
Newest Articles
A Name to Conjure With: David Nixon's Magic Box on DVD
Which 1950s Sci-Fi was Scariest? Invaders from Mars vs The Blob
The Empire Strikes Back: Khartoum vs Carry On Up the Khyber
Stan and Ollie's Final Folly: Atoll K on Blu-ray
The Big Grapple: Escape from New York and Its Influence
The Conquest of Everett: The Kenny Everett Video Show on DVD
Bout for the Count: Hammer's Dracula in the 1970s
Nopes from a Small Island: Mistreatment of American Stars in British Films
You Know, For Kids: Children's Film Foundation Bumper Box
If He Were a Carpenter and It Was the 80s: The Fog, Prince of Darkness and They Live
Tee-Hee, It's 80s Sci-Fi Horror: Night of the Comet, The Stuff and Night of the Creeps
Chance of a Ghost: The Uninvited and The Ghost and Mrs. Muir
3 Simian Slashers: Phenomena, Link and Monkey Shines
When is a Jackie Chan Movie Not a Jackie Chan Movie? Armour of God and City Hunter
Anytime Anywhere: The Complete Goodies at the BBC Episode Guide Part 2
  Night Eats the World, The Alone In A VoidBuy this film here.
Year: 2018
Director: Dominique Rocher
Stars: Anders Danielsen Lie, Golshifteh Farahani, Denis Lavant, Sigrid Bouaziz, David Kammenos, Jean-Yves Cylly, Nancy Murillo, Lina-Rose Djedje, Victor Van Der Woerd, Léo Poulet, Déborah Marique, Tess Osscini Boudebesse Bejjani, Fabien Houssaye
Genre: Horror
Rating:  7 (from 1 vote)
Review: Sam (Anders Danielsen Lie) is a musician who has suffered a bad break-up with his girlfriend Fanny (Sigrid Bouaziz) and is now determined to make a clean break from her, or as clean as he can, by going around to her apartment and getting his tapes back. However, when he arrives he finds she is holding a party there, and is distracted at best when he wants to sort things out as quickly as possible. She tells him to wait in her office, and on the way there he is jostled to the extent that someone bloodies his nose, not improving his mood one iota. He locks the door and sees his cassettes, then as he dabs at his face settles down to wait for Fanny, falling asleep...

And when Sam wakes up, the whole world has changed. Richard Matheson's classic science fiction-horror novel I Am Legend can legitimately be said to have been one of the most influential ever written, as far as pop culture goes, not so much for the adaptations of it to reach the screen over the decades, but for spawning the zombie genre as we know it today when George A. Romero used it as his jumping off point for the seminal cult classic Night of the Living Dead in 1968. Although the debt is plainly there to Romero, without Matheson there would be nothing in that strain of entertainment, making him one of the most important talents ever to put pen to paper.

Or put fingers to typewriter, however he did it, what's inescapable here was that The Night Eats the World brought the zombie style back to its survivalist roots, with one man against the world, holed up in the apartment block in Paris where as far as he can work out, everyone has either died or been infected with a disease that makes them undead and violent, determined to pass on the condition through biting. Actually, this was based on a novel by Pit Agarmen, but the siege theme was well noted as the source for zombie fiction, implemented over and over in various forms: no zombie movie worth its salt would be without a sequence where someone living was trapped by the dead.

Even an extended sequence, or a whole plot, as Romero portrayed it over and over in his original trilogy of shockers. Yet as this was a French film, there was a European sensibility to this, akin to Luc Besson's wordless tale of the post-apocalypse Le Dernier Combat, where the tiny number of survivors of a cataclysm are as much concerned with staving off a boredom that could lead to madness as they are getting enough to eat or shelter from the elements. With the Parisian terrorist attacks fresh in the mind when this was released, the idea that society could suddenly go insane for no reason that makes sense was another influence, and that isolation from being in a crowd in panic or rage was neatly conveyed by director Dominique Rocher, marking his first feature after a couple of shorter pieces.

Lie was a musician in his day job, though he dabbled in acting, and when you saw him showing off his musical skills when his character finds a kit, you had to admit that as an actor he made a terrific drummer. As long as he didn’t need to speak, his limitations did not matter too much, as we became engrossed in his day to day life as an enforced shut-in when the streets outside were teeming with the fevered undead. Rocher got quite some mileage out of presenting the problems his protagonist would face, then having him find solutions, but managed a genuinely unexpected twist that you feel you should have seen coming a mile off when another survivor shows up by breaking into the building and surprising him, she being Sara.

This young woman was played by Golshifteh Farahani, who frankly acted Lie off the screen with what few scenes she had, arriving at a point past the halfway mark but making a strong impression, so strong that perhaps the film could have done with her earlier, though then the examination of a descent into mania would not be as resonant. As a study of loneliness, on the other hand, The Night Eats the World struck a chord, the only interaction Sam can count on for long stretches of his new existence being the zombie trapped in the lift. When I tell you that zombie was played by the great Denis Lavant, who had no lines, it was apparent this was a cut above its numerous contemporaries when they were prepared to give the flesheater role to such a physically perfectionist performer. With its emphasis on struggling to stay sane in a world headed assuredly in the opposite direction, this worked up a very twenty-tens mood, maybe not as haunting as intended, it was too practical for that, but certainly vivid. Music by David Gubitsch.
Reviewer: Graeme Clark


This review has been viewed 122 time(s).

As a member you could Rate this film

Review Comments (0)

Untitled 1

Forgotten your details? Enter email address in Username box and click Reminder. Your details will be emailed to you.

Latest Poll
Which star do you think makes the best coffee?
Emma Stone
Anna Kendrick
Michelle Rodriguez
Sir Patrick Stewart

Recent Visitors
Graeme Clark
George White
Paul Smith
Andrew Pragasam
Darren Jones
Aseels Almasi
Rashed Ali
Alexander Taylor


Last Updated: