We Are Zombies is a refreshing and inventive take on the zombie genre, delivered by the filmmaking trio RKSS—François Simard, Anouk Whissel, and Yoann-Karl Whissel. Known for their cult hit Turbo Kid, RKSS has once again crafted a film that is comedy, horror, and social commentary. We Are Zombies doesn’t just revive the undead on screen; it breathes new life into a genre that often treads familiar ground.I have to be honest here, I am a little biased with this film. I love Turbo Kid and I am the biggest Romero fan I know. I was expecting a lot from this and I think it completely delivered.
Set in a near-future where zombies, or “living-impaired,” are an integrated and accepted part of society, the film takes us on a wild and chaotic ride alongside three unlikely heroes. Freddy (Derek Johns), a wrestling-obsessed goofball; Karl (Alexandre Nachi), a nerdy fan of Dungeons & Dragon,; and Maggie (Megan Peta Hill), a vengeful sister with a grudge against her former employer, the Coleman Corporation. This trio of misfits finds themselves in a scheme to outsmart Coleman, a shady company that collects zombies from families who can no longer care for their undead loved ones.
The film’s setting is a world that has adapted to the existence of zombies in a surprisingly mundane way. Instead of the usual apocalyptic chaos, We Are Zombies presents a society that has come to terms with the living dead, treating them less as a threat and more as an inconvenience. Zombies, or “living-impaired,” wander the streets aimlessly, some retaining more of their former selves than others. They aren’t out for blood but are instead portrayed as a marginalized group facing discrimination and exploitation by those looking to capitalize on their unfortunate condition. This concept alone sets the film apart from the myriad of zombie movies that have come before it, offering a fresh and humorous take on what it means to be undead.
Maggie’s vendetta against Coleman Corporation drives the film’s plot, as she hatches a plan to infiltrate the company’s operations. With Freddy and Karl posing as Coleman workers, they begin picking up zombies and selling them to Otto Maddox (Stéphane Demers), an eccentric performance artist. However, when the real Coleman employees—Stanley (Patrick Abellard) and Rocco (Marc-André Boulanger, aka Franky the Mobster)—catch wind of Maggie’s scheme, they retaliate by kidnapping Karl’s grandmother (Clare Coulter) and holding her for ransom. What follows is a frantic race against time as the trio must come up with the money to save their granny while uncovering Coleman’s sinister plot to weaponize the zombies.
RKSS manages to pack in a relentless barrage of jokes, visual gags, and comedic situations, all while maintaining a sense of dread and tension. The characters are wonderfully over-the-top, with cartoonish personalities that add to the film’s playful tone. Freddy, Karl, and Maggie are incredibly likable, each bringing a unique energy to the story. Freddy’s obsession with wrestling and Karl’s geeky quirks provide plenty of laughs, while Maggie’s no-nonsense attitude keeps the plot moving forward. Even the zombies themselves are a source of humor, with their pale complexions, gray eyes, and bizarre behavior adding to the film’s offbeat charm.
Yet, despite the film’s lighthearted approach, We Are Zombies doesn’t shy away from delivering some genuinely thrilling and gruesome moments. The special effects, handled by the talented Blood Brothers (Jean-Mathieu Bérubé and Carlo Harrietha), are a highlight, showcasing creative and inventive kills that will satisfy even the most hardcore gorehounds. From decapitations to dismemberments, the film’s practical effects are top-notch, adding a visceral edge to the otherwise comedic proceedings. The zombies abide by the Return of the Living Dead rules, meaning they can speak, and decapitation isn’t enough to kill them permanently. This rule leads to some hilariously absurd situations, especially in the film’s final act, where the action ramps up to a fever pitch. But unlike Return of the Living Dead, this film remembers to be an actual movie.
The showdown in the third act is a masterclass in blending action and comedy, with the filmmakers cramming in so many jokes and visual gags that the audience barely has time to catch their breath between laughs. Gore and wrestling fans alike will be hooting and hollering with each successive kill, as the film revels in its over-the-top violence and slapstick humor. It’s in these moments that We Are Zombies truly shines, showcasing RKSS’s knack for crafting entertaining and memorable set pieces.
But beneath its bloody exterior, We Are Zombies also offers a pointed critique of capitalism and the way society treats its most vulnerable members. The Coleman Corporation is a thinly veiled representation of corporate greed, exploiting the living-impaired for profit while paying lip service to the idea of care and compassion; much like the way companies take advantage of the poor and disabled while giving a ‘’month” of recognition per year. The film’s portrayal of the zombies as a marginalized group, facing stigma, discrimination, and violence, is a clever way of addressing real-world issues through the lens of horror-comedy. While these themes are present and tackled, I can’t help but feel like there could have been more of this. The audience could have been presented with more examples, really hit that metaphor in all areas in this society.
From their early short films to Turbo Kid and Summer of ’84, RKSS has built a dedicated following, and We Are Zombies feels like a gift to those fans. The film’s world premiere at the Fantasia Film Festival in their hometown of Montreal was a triumphant homecoming, with the filmmakers receiving a standing ovation before the film even screened. The Montreal setting adds another layer of enjoyment for local audiences, with familiar locations and Quebec actors adding to the film’s charm.
Ultimately, We Are Zombies is a film that refuses to take itself too seriously. It’s not a B-movie, but it’s clear that RKSS is having a blast playing with the conventions of the zombie genre. The film’s blend of horror, comedy, and social commentary makes it a standout entry in the zombie canon, and one that is sure to appeal to fans of indie horror and cult cinema. With its likable characters, inventive kills, and sharp humor, We Are Zombies is destined to become a future cult classic, and it’s a film that every horror-comedy fan should have on their watch list.
For those who have been following RKSS’s career, We Are Zombies is a must-see—a film that encapsulates everything that makes this trio of filmmakers so beloved. It’s a messy, chaotic, and ultimately heartwarming film that celebrates the weird and the wonderful. And for those new to RKSS, We Are Zombies is the perfect introduction to their unique brand of filmmaking. I can’t wait to see what they do next.
We Are Zombies is out on VOD now & Streaming on Screambox
STARS: 4 / 5
