After a chemical leak at the Hope Centre in Papua New Guinea (an organisation devoted to feeding underdeveloped countries) turns its staff into flesh-eating zombies, a four-man commando squad led by Mike London are sent to investigate. They run into a TV news crew led by celebrity reporter Lea, who are after the same story, but what they discover is that the area is overrun with zombies and the virus is quickly spreading.
Known in various countries as anything from Virus to Hell of the Living Dead to Zombie Creeping Flesh (which is the guise under which I’m reviewing this), it makes no difference what title is slapped on the credits, there’s one thing that will never change: this is a terrible film. Coming in the midst of the Italian zombie and cannibal horror boom of the late 70s/1980s, Zombie Creeping Flesh is like a ‘best of’ selection box, featuring all of the hallmarks of this exploitation sub-genre (cheapness, nastiness and violence) and throwing in as much from both the zombie films and the cannibal films it is stealing from.
I’ll give credit to the overall plot idea – that the rich nations of the world have developed a toxin which turns the population of the Third World into cannibals, letting them eat each other so that we can pilfer their resources – but in the hands of cult Italian exploitation director Bruno Mattei, arguably one of the worst directors I’ve had the misfortune of enduring, the overall idea was never going to matter. That’s because Mattei does his usual hack job, helming what only can be called a complete shambles of a production. The narrative is a mess, more so than Mattei’s usual films, and seems to have been stuck together with only the flimsiest of ideas.
Not only does the story make no sense and flitter from scene to scene with little to no furthering of the plot, but Mattei feels the need to add even more randomness into proceedings by splicing in all manner of nonsensical stock footage of animals and the rain forest. Getting bored of a scene between actors? Mattei goes ahead and slaps in some random footage of an owl in mid-flight. Or maybe a monkey flying through the trees might be more suited to your tastes. The stock footage inserts don’t even come during natural transitions – they’re just inserted into the film whenever the editor has either got bored, forgotten to edit properly or made a massive cock-up and had to put something in as a filler. Words alone can’t really describe how bad and disjointed this footage is.
The script continues to baffle the mind the further the film progresses. Despite knowing and being constantly reminded by their crazy comrade that the only way to kill the zombies is to shoot them in the head, the bulk of the soldiers continue to fire away without a care in the world, frustrated at their attempts to stop the hordes from getting closer. The zombies move slowly and I mean slowly. Mostly it’s meant to be for dramatic effect, as hapless victims stand petrified to the spot and allow the zombies to get closer to them, arms outstretched and moaning horribly. But it has the tendency to slow down action scenes to a crawl. It’s an agonising wait for the zombies to catch up to their ‘meals’ and some characters see it as an opportunity to prance around them and taunt them. Not a good move amidst a swarm of flesh-eaters. Some of the zombies have a habit of remaining perfectly still and allowing the humans to walk up on them from behind to see if they’re ok – cue the quick turn and face the camera to reveal the zombie ready and eager to bite! Pretty clever tactic if you ask me but what happens if no one comes up to you?
For no apparent reason, the survivors run into a cannibal tribe in the middle of the rain forest. Well I say for no apparent reason but knowing Bruno Mattei, the reason is perfectly clear – it’s to pad out the running time with a load of copious stock footage of an actual tribe from Papua New Guinea. The footage of the burial ceremony was real and has been lifted from a documentary – kind of a tasteless thing to do by sticking it right in the middle of a tacky exploitation film where the recently deceased is then turned into a flesh-eating zombie. It’s no wonder there’s so little dialogue during the ten to fifteen minutes of screen time that this portion of the film receives. It’s such a distracting sidestep from the zombie carnage that preceded it that you wonder whether the survivors really have a clue what is going on, let alone the audience.
Mattei has also copiously ‘borrowed’ the soundtrack from other films scored by Goblin. I say ‘borrowed’ because apparently the producers allowed him access to the music but it still reeks of cheapness. There are cues from Dawn of the Dead and Contamination in there. Whilst the soundtracks are a little jarring because they don’t really correspond to what is happening on screen, the fact that they’re kick ass soundtracks in their own right means at least they’re getting appreciated once more.
At least there’s one thing you can expect from a Mattei film and that’s copious amounts of gore. The bulk of the film features the usual neck biting and arm chewing zombie action that you’d expect. It’s in the finale where the money shot lies: an awesome tongue-ripping, fist-smashing, eye-popping sequence in which one character suffers a horrific fate at the hands of an off-screen assailant. It’s a great set piece which comes about thirty seconds before the credits roll.
Zombie Creeping Flesh is one of the tackiest zombie films ever to come out of Italy, a derivative, badly-made mess which stops and starts as much as one of its walking dead stars. A truly bad movie on every level, there is some enjoyment to be had out of identifying how many other films Zombie Creeping Flesh rips off in some way but even hardened Italian horror veterans will find this tough work.