Dominic Brunt | 82 mins | TV | 2.35:1 | UK / English | 18
Directed by Emmerdale actor and zombie aficionado Dominic Brunt (who also stars), from a screenplay by Emmerdale writer Mark Illis based on a story by Brunt’s wife, Joanne Mitchell (who also co-stars), Before Dawn is a mash-up between remote-farmhouse zombie horror and kitchen-sink relationship drama.
The story sees struggling couple Alex (Brunt) and Meg (Mitchell) leaving their kids with her mother and heading off to the aforementioned remote farmhouse for a reconciliatory weekend. As they clash and argue, we see the signs around them that All Is Not Right… until suddenly they’re being chased by the undead.
Unfortunately, Brunt and Illis aren’t quite up to pulling off the film’s original concept. The relationship drama is lightweight, with nothing strikingly new or engaging about it, just rote “couple argue but maybe love each other really”-type shenanigans. It also takes way too long to get going. The scene saying goodbye to the kids is interminable, with nothing to add to the narrative or characters. I guess it’s trying to establish a rapport between the parents and their kids, designed to pay off later, but it offers nothing you wouldn’t get from literally showing that they have kids. If you want us to have an emotional investment, give us some emotion, not just instructions about bedtime and requests for hugs. Then there’s the wannabe-artsy shots of driving, and… just get a wriggle on, yeah?
Amateurish production values often let the side down. I don’t think Brunt’s direction would be too bad were it not for the cheap camerawork, although the action scenes are overrun with ShakyCam. There are some very good bits late on: the developments that come as a result of a stranger’s arrival; a phone call with the kids; perhaps even the very end, which is a bold climax.
Incidentally, no part of the plot has anything to do with something occurring “before dawn”, so I presume the title is a riff on Before Sunrise (relationship two-hander) and Dawn of the Dead (zombie movie) — in which case, the title goes from being oddly meaningless to quite neat. In that respect, it might be the best thing about the film.
The inherent idea of cross-pollinating these two genres isn’t without merit, so it’s a shame it’s come to pass in this fairly weak film. Maybe someone else will try it again someday.