Stop me if you’ve heard this before—zombie virus outbreak, a cabin in the woods, kids in peril. But Mexican filmmaker Isaac Ezban (Evil Eye) flips the script on what could’ve been just another genre rehash. What follows is a bloody, darkly humorous, and surprisingly unpredictable ride, as Ezban injects fresh energy into familiar horror tropes, all while expertly balancing the tone between terror and twisted comedy. It’s a horror film that refuses to stay in one lane, and that’s exactly what makes it so thrilling, chilling and fulfilling.
Three brothers—Salvador (Felix Farid Escalante), Oliver (Leonardo Cervantes), and Benjamin (Mateo Ortega)—live deep in the woods, hidden from a world ravaged by a deadly virus that transforms the infected into primal savages. With their parents nowhere to be found, the eldest, Salvador, assumes responsibility for his younger siblings, despite having lost one leg from the knee down. He organizes dangerous foraging trips for food and water while shielding Benjamin from the terrifying cries of the “Monster” in the basement. However, curiosity gets the better of Benjamin, and when he sneaks downstairs to uncover the truth, the reveal is suitably nasty—but we’ll say no more to avoid spoilers.
As the story progresses, a greater threat to the brothers’ fragile existence emerges. First comes Valeria (Clara Adell), who seduces Salvador with ulterior motives. Then, whispers of a cure from the Russians spark new hope. But when a violent faction called the Trumpets, led by the ever-menacing Noé Hernández (We Are the Flesh), arrives, chaos erupts in devastating fashion.
The film excels in its visceral horror—special effects are appropriately gruesome, and the sound design is particularly effective (those cries!). However, Ezban’s decision to heavily desaturate the visuals proves distracting rather than immersive. At two hours, the film also feels slightly overstretched, especially given its inconsistent tension-building. While it never fully capitalizes on suspense, its world-building and shocking moments ensure it remains gripping for the most part.
VERDICT:
IN THEATERS ON APRIL 4
