MOVIE: Maggie (2015)

maggieOne of the reasons I like zombie movies as much as I do is because I also really, really like movies about pandemics, and a lot of zombie films are essentially movies about fast-spreading viruses chewing up the globe. I like pandemic movies both because they are scary in an authentic, contemporary way, and also because they are not.

That is, of all the things I worry about in life, and I worry about a lot of things (stop nodding so emphatically, you guys), pandemics are not high on my list — not because I don’t think they’re a legitimate thing to be afraid of, but because I don’t see a lot of point to freaking out over things about which I can do very little.  Aside from kicking up the hand sanitizer use and trying to avoid crowds, when a pandemic comes to town, I’m not going to be able to do much to avoid it, so why waste energy on being chronically afraid? And so, as with horror movies about monsters I don’t really believe in, not to mention freak weather patterns involving sharks and ‘nadoes, I find stories about global epidemics terrifying in an extremely safe sort of way.

Zombie movies typically take the pandemic thing to a whole new level, starting with a massive kicking-up of the timeline of the spread of the disease. In most of the zombie-virus stories I’ve seen, the disease launches and the world is quickly overrun in a matter of days (roughly 28, if Cillian Murphy is to be believed).  While I enjoy that scenario, and have enjoyed many a zombie movie that uses it, I feel like I’ve seen it so many times now, its capacity to engage me on any sort of deeper level has waned.

This is a long-winded way of explaining to you why I was intrigued enough by the description of this movie, which takes the usual zombiebola story in a different direction, to be willing to sit down for two hours to watch a zombie flick starring Arnold Schwarzehoweveryouspellit — something I would’ve been extremely unlikely to do had it just been another World War Z- or Walking Dead-type yarn.

In Maggie, the zombie virus has spread worldwide as usual, but its incubation period has been greatly slowed down, dramatically changing the character of the pandemic.  Instead of infected people turning into the undead in hours or days, people infected with the virus have about 6-8 weeks before their hankering for human flesh becomes a serious problem.  That’s given doctors and governments a vastly expanded ability to control the spread of the disease.  Sick people are typically rounded up and quarantined before they have a chance to infect others (timely parallel to ebola here, by the way), making the virus a lot more containable.

The title character, Maggie (Breslin), is a teenage girl who had left home for the big city only to be bitten by a rogue zombie one dark night in an alley (lesson to all teenage girls: avoid big city alleys after dark, regardless of rampant viral infections). She ends up in the hospital, where a doctor calls her father (Arnold Schwarzewazzup).  Ordinarily, someone with a confirmed bite is immediately sent to quarantine, but Dad has some connections in the medical world, and he calls in all his favors so he can take Maggie home until she “turns.”

What follows is a fairly thoughtful story about a dying girl home with her family with only weeks to live and a fairly horrible future to contemplate.  Just as wrenching as her side of the tale is that of her father, who not only has to watch his daughter die, but will also likely be responsible for taking care of business, so to speak, at the end.  The family doctor gives him a syringe of the drug cocktail used to euthanize the sick in quarantine (a place of expanding, terrifying lore, also in timely parallel to ebola) but tells him the drugs result in a slow, excruciatingly painful death and not-so-subtly suggests that the compassionate thing for a father to do in that moment is to shoot his little girl in the head.

It might be hard to take that quandary seriously when the disease involves turning into a zombie, but if you look at it as a metaphor for something else — say, terminal cancer — you can see a new relevance, and a new layer, to the story being told here. That’s true not just in terms of the anguished family members watching their loved ones suffer, but also for the policies surrounding medical procedures for the terminally ill, where we still typically rely on painful interventions to the bitter end instead of what some might describe as a more humane approach.

As Maggie begins her slow descent to undeath, complete with the terror of seeing her own body parts begin to rot and a sudden, startling, and confusing urge to eat her stepmother, the agony for all involved becomes difficult to watch. Schwarzenegger (I looked it up) is surprisingly effective in this for a guy I don’t typically associate with evocative emotional storytelling, though this movie would’ve been much stronger with somebody else in that role (mostly because I found his surprising effectiveness somewhat distracting, which isn’t fair, I’ll grant you, but it’s still true).  It also could’ve used a little more time in the rewrite room, because there are several moments where the dialogue doesn’t quite work, as well as more than a few scenes I felt were more than a little clumsy.

Still, overall, I enjoyed this film and appreciated very much its approach to the genre.  I’m always a little disappointed when a movie trying to do something a bit unique doesn’t quite nail it, but the attempt was certainly admirable, relevant, and heartfelt.  Definitely recommended, especially to fans of the BBC series In the Flesh, which this movie reminded me of more than once.

[Rent at Amazon | View trailer]

Genre: Zombies, Drama
Cast: Arnold Schwarzenegger, Abigail Breslin, Joely Richardson, Mattie Liptak

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4 Responses to “MOVIE: Maggie (2015)”

  1. RogerBW Says:

    I thought the trailers were pretty confused, which is often a sign of a film that’s trying to do something new – the trailer editors are trying to send the message “this is a film in standard category X” and sometimes the film won’t cooperate.

    I’ll give this a look when it gets to me…

  2. Anonymous Says:

    (Liz) Sounds good. How was Joely Richardson? She’s Vanessa Redgraves’s OTHER daughter. “In the Flesh” had lots of Civil Rights stuff in it; did this?

    • megwood Says:

      Richardson was fine, but doesn’t have a lot to do. She’s the stepmother and at first tries to be fairly supportive, but then gets pretty freaked out when Maggie keeps smelling BBQ whenever she gets too close.

      As for civil rights issues, there’s definitely a lot in this movie that will resonate with anyone who was paying attention during the ebola epidemic, especially as it relates to mandated quarantines. I also thought a lot about euthanasia for the terminally ill while watching this, though I don’t know that the filmmakers intended me to. At first, I was annoyed by the plot element involving the drug cocktail and the fact it resulted in excruciating death — would we REALLY be doing that with sick people en masse in this country? Subjecting them to a method of death that was slow and painful, when we had the option of taking them out quickly and painlessly (here, with a bullet to the brain)?

      But then I thought — well, yeah. We kind of do that a lot with terminally ill people here in places (which is most places) where assisted suicide is not legal. It’s a little different in that the drug cocktail in this film was intended to bring about death, but the slow/painful vs. quick/painless thing definitely made me think about those practices. This is probably more about me than the movie, though — I lost a beloved family member last summer to a very slow, awful death, and while she didn’t opt for assisted suicide (and could have, as she lived in Oregon), it definitely made me think I probably would at least consider it if I were ever in a similar situation.

      • RogerBW Says:

        Indeed, an awful lot of people who’ve worked in hospitals or had a friend or relative die a slow death go to a great deal of trouble not to have their lives prolonged by extreme medical measures. I think it’s probably an outgrowth of this whole cultural reverence for human life, any life, even life that can and will never do anything other than scream in agony until it is mercifully over at last.

        The thing I noticed about what I saw of coverage of ebola in the USA was how class-marked it was: any potential victim was portrayed as a careless sloppy poor person, whatever their actual wealth or reason for infection.

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