The Signal has its share of things to say about urban paranoia, road rage, addiction - whether to sex, drugs or, more dangerously, consumerism. But it stands apart from other pictures of the same ilk by using its apocalypse as a backdrop to a bitter-sweet love story.
The Signal is like a Romero zombie movie in which the zombies aren't dead, they're just really temperamental. Evil here is technology-born. Maybe our cellphones and satellite dishes are giving us all the crazy.
The Signal is like a Romero zombie movie in which the zombies aren't dead, they're just really temperamental. Evil here is technology-born. Maybe our cellphones and satellite dishes are giving us all the crazy.
The Signal has its share of things to say about urban paranoia, road rage, addiction - whether to sex, drugs or, more dangerously, consumerism. But it stands apart from other pictures of the same ilk by using its apocalypse as a backdrop to a bitter-sweet love story.
Unlike traditional zombie romps, these crazies don't stumble around mindlessly, noshing on human flesh. They look and act like normal people - until the second they go bonkers.
Borrowing heavily from the current trend in zombie comedy and apocalyptic horror but shifting it away from the usual undead norms, pic carves out a fresh angle in the crowded indie horror universe while blatantly stealing ideas from Kiyoshi Kurosawa's "Pulse."
Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter’s “Prince of Darkness” and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it’s more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
Part 1, directed by David Bruckner is superb, with affecting performances, a sense of dread reminiscent of John Carpenter's "Prince of Darkness" and many striking images. Part 2, directed by Dan Bush aims for George Romero-style ghastly humor, but it's more grating than funny. Part 3, directed by Jacob Gentry adds a splash of tragic love, but its preference for gore over feeling becomes monotonous.
