What Is It? Dramazomedy
Who Is In It? Additional Voice Talent, Saw III & IV
Should I See It? No.
Gus Lawton (David Kemker) is a failed comic supported the past half-dozen years by his wife, Deborah (Shauna Black.) Gus proves as unsuccessful at adultery as everything else in his life, and winds up forced into servitude at Deborah's rural childhood home in hopes of making amends. Gus inadvertently awakens a buried zombie dubbed Quinto (David Sparrow,) who he uses to do his many chores while he works on a terrible caveman themed stand-up act Gus intends to try out in a barn on the local yokels. Quinto unsurprisingly gets up to flesh eating shenanigans while unsupervised, which complicates the Lawtons plans.
Zombie Dearest is clearly a vanity project for writer-director-star David Kemker, who apparently had enough industry ties to call in favors to match '80s Canadian television production values, pull a strong bluegrass cut for the trailer ("Ain't No Grave" by Crooked Still) and cast a credible co-star. Due to the minimal competence on display, it's difficult to tell whether Kemker intended for his characters to be unlikeable, arrogant left-coasters, or if Gus' act is so wretched because Kemker was afraid rednecks might actually laugh at it if he put even an ounce of effort into the writing. It's probably not a good idea to do bad work on purpose when you're an unknown quantity, since it's so easily mistaken for being of poor quality in itself. It doesn't help that a pseudo-love triangle is resolved off-screen, a major plot point about the town's history with the supernatural is never addressed, and the picture is tone deaf as a whole.
At its core, this is an indie flick about displaced liberals in the sticks and their hubris, but it's played too broadly to offer insight. There appears to be overtures toward this being a comedy, but the film doesn't come within spitting distance of funny at any point. Then there's the zombie element, which is so tacked-on that it's safe to assume its involvement was motivated by mercenary inclinations. The film owes more to W.W. Jacobs' "The Monkey's Paw" than George Romero, so when the shit hits the fan in the final minutes of the last act, it flies briefly and with a remarkable lack of feces. Just to rub it in, there's a twist ending that's more depressing than most zombie flicks for the exact wrong reason. This could have been a decent enough half-hour entry in an anthology, but as a full length feature it is completely charmless.
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