The original [Rec] was one of the more effective ‘found footage’ movies and one of the better ‘zombie’ films of recent years, showing that both of the much-maligned sub genres still have plenty of potential when handled well. I haven’t seen the first sequel, so can’t comment on that – but third film [Rec] Genesis proves to be a sequel too far, and pretty much takes any good feeling built up by the original movie and stomps it into the ground.

The film opens in more ‘found footage’ style, as we see assorted video footage from the wedding of Koldo (Diego Martin) and Clara (Letitia Dolera). This long – 15 minute plus – pre-credits sequence is both annoying and effective – it drags on with endless wobbly camcorder shots, but then unleashes a genuinely effective shock sequence as a wedding guest – earlier seen vomiting from apparent over indulgence – topples from a balcony and then attacks his fellow guests, unleashing a zombie-like plague that rapidly spreads.

After this opening however, the film switches to a more conventional filmic style, as the surviving guests try to escape the rapidly increasing hordes of undead monsters, while the separated newlyweds try to find each other.

Original co-writer and co-director Paco Plaza goes it alone for this film, and if you were impressed by the dark, apocalyptic, claustrophobic nature of the original film, you’ll be forced to assume that it was down to his partner Jaume Belageuro, as this replaces tension with clumsy black comedy, horror with clichéd excess. Esteemed critic Stuart Barr suggested to me that this film is best seen as a tribute (or perhaps unofficial sequel) to Lamberto Bava’s Demons films, and he’s not wrong – the monsters here seem very much influenced by those seen in the two Eighties films, not exactly zombies (though sharing most of their attributes) and influenced by religious iconography and prayer. Plaza’s film is far better than Bava’s work – hardly praise – but it just doesn’t work as a horror movie. The comedy is clumsy, the characters one-dimensional and dull ((Dolera is possibly the most unconvincing action heroine I’ve ever seen) and the plot seems to be little more than a series of moments from other films spliced together. There isn’t a single original idea on display here, and while some fans might enjoy seeing a string of clichés and familiar visual images all strung together, I imagine more discerning viewers will be left wondering what the point was. Yes, there’s plenty of gore, and yes, it moves at a fair clip – but the end result is a movie that feels entirely vacuous.

The DVD comes complete with a two-hour ‘making of’ documentary that is thorough to the point of overkill.

DAVID FLINT

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