Colin Review: Dead On Its Feet

COLIN: In selected cinemas from Friday 23rd October 2009

A film made for £45?

For that measly sum you couldn’t even buy a Friends DVD boxset but plucky director Marc Price claims he’s pulled off shooting an entire movie, bringing us Colin.

Colin documents the first days of a man’s transition into zombiedom after being bitten. We follow him shuffling around a cadaverous, post-apocalyptic London as he searches for victims to chow down on and dodges the living’s attempts to finish him off.

A marked change from the ordinary zombie movie, it’s shot from the zombie’s point of view. Colin (Alastair Kirton) struggles to make sense of what’s happened to him, trying to claw back what he used to have. It’s a lonely existence, and desperately sad in parts.

Price has certainly achieved something in inspiring empathy for our main character of the brain-eating zombie, but the film taken in its entirety does feel extremely threadbare.

There’s very little dialogue as we follow Colin, which becomes tedious. The lack of dialogue means there’s no vehicle for narrative, and with no idea as to where the story is going and indeterminate tone, it’s a relentlessly slow mover.

Lingering shots of dripping taps or road signs simply linger for too long, feeling as though they merely exist to fill the 100-minute quota.

Colin should have embraced its (reportedly) low budget, but instead it feels like a challenge as to how much you can get out of £45. That lack of glossiness does make the some of gory scenes particularly graphic, but more often they’re undermined by the overzealously shaky camera work which is frustrating (as well as dizzying), as you can’t see what’s going on.

Price’s (full name Marc Vincent Price – seriously) intention with Colin was to put us in touch with the things that make us human, by taking life away from the body. While an intriguing idea, there’s a difficult balance here.

Does he want Colin to be human or zombie? Is he conscious or not? It’s never quite clear, as Colin’s degree of humanity/zombieness varies throughout, and the short-lived empathy promptly makes way for indifference.

Go and see it at least to satisfy your curiosity, but go in with low expectations as Colin is a prime example of false economy.

Leonie Mercedes