K-Zombie on the Way to School?! A Fresh Attempt, New Melodrama 'Zombie Daughter' Review

At the end of July, the sea... no, the 'Prince of Summer' has arrived. Jo Jung-seok, who attracted 4.7 million viewers last summer with 〈Pilot〉, has returned with reliable colleagues and a trustworthy original work. The movie 〈Zombie Daughter〉 depicts the story of Jung-hwan (Jo Jung-seok) trying to protect his daughter Sua (Choi Yu-ri), who has turned into a zombie, and the people around him. It is based on the Naver webtoon 'My Daughter Became a Zombie', and director Pil Gam-seong has brought the unique comedy and emotional storytelling of writer Lee Yoon-chang to the screen. As it targets the last week of July, there is interest in whether Jo Jung-seok can continue his 'summer box office' record in conjunction with Culture Day. With 300,000 pre-bookings before its release, if you're contemplating whether to watch 〈Zombie Daughter〉, the reviews from Cineplay's reporters who previewed it will be helpful.

Chua-young_ Pioneering a Different Path from Existing Korean Melodrama

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〈Zombie Daughter〉 features a clear good vs. evil structure, the use of symbolic music that amplifies the audience's emotional lines, and emotional excess, characteristic of the melodrama genre. The film does not hesitate to use the melodrama that was born from melodrama. However, the melodrama of 〈Zombie Daughter〉 walks a different path from existing Korean melodrama by redefining family.

​Jung-hwan (Jo Jung-seok), a specialist in wild animal breeding, tries to tame his daughter Sua (Choi Yu-ri), who has turned into a zombie but retains her previous memories, to live together. The state and military, once family or friends to someone, now seek to kill them as they have become zombies. As the oppression of the state intensifies, the popular emotions that come from Jung-hwan's attempts to protect his daughter Sua are amplified. At this time, Sua's efforts to train herself to avoid revealing her identity make her look like a wild animal, and Jung-hwan does not reject Sua, who has lost her human reason, but continues to treat her as family. The portrayal of Sua, who has transformed into an animal, and Jung-hwan, who treats her the same as before, reveals the work's attitude of advocating for animal rights. Additionally, the scenes of citizens protesting against the state's decision to eliminate zombies evoke the image of protests advocating for minority rights. In the film, the state and military, along with the police blocking protests, exist as agents of hatred and violence, and Jung-hwan's attempts to protect Sua, who represents minority identity from hatred and violence, become even more poignant. Furthermore, it is revealed in the latter half of the film that Jung-hwan and Sua do not have a typical father-daughter relationship. In this way, 〈Zombie Daughter〉 redefines family by encompassing not only direct family but also various minority rights, including animal rights. This melodrama of 〈Zombie Daughter〉 manifests from familial love but walks a path opposite to the nationalistic and patriarchal melodrama of Korean melodramas like 〈International Market〉 and 〈Haeundae〉. At the same time, the comedy film 〈Zombie Daughter〉 does not ignore minorities while fulfilling its genre obligation to induce laughter at the right moments. 〈Zombie Daughter〉, which does not miss both minority identity and fun, presents a new path for Korean cinema.

Joo Sung-cheol_ If there was 〈Handsome Guys〉 last year, this year it's 〈Zombie Daughter〉!

Since the 2000s, the imagination of zombie films has become limitless. Unlike vampire films, which have no similar original works like Bram Stoker's 〈Dracula〉, zombies were freer. Zombies started running in 〈28 Days Later〉 (2002), and the zombies in 〈World War Z〉 (2013) ignored sick humans. Around the same time, in 〈Warm Bodies〉 (2013), zombies even began to have emotions. Subsequently, zombies entered the center of K-content, leading to the creation of the term 'K-zombie' through sensitive zombies in 〈Train to Busan〉 (2016) and temperature-sensitive zombies in the 〈Kingdom〉 (2019) series. Finally, in 〈Zombie Daughter〉, zombies wear makeup that covers their facial veins to go to school, and a K-zombie is born who gets scared and lowers her eyes at the sight of her grandmother's hand. Just like director Pil Gam-seong's previous work and debut film 〈Hostage〉 (2021), it adds a Korean educational fervor by attempting training while locking up zombies, saying, 'If you have intelligence, you can surely cure zombie disease!' The ensemble of actors, including Jo Jung-seok, Lee Jung-eun, Yoon Kyung-ho, and Jo Yeo-jeong, makes all these absurd situations believable. The cat 'Aeyong', which could have been equipped with combat power comparable to the original through computer graphics, also blends wonderfully into the group as a surprising 'Kkilki-pappa'.

Seong Chan-eol_ A Kind Zombie Film That Does Not Detract from the Original

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No matter how much audiences love zombie films, the decision to adapt 'Zombie Daughter' into live action must not have been easy. The premise of secretly hiding and taking care of a daughter who has turned into a zombie is fun, but it is difficult to accept realistically. However, 〈Zombie Daughter〉 makes it believable. Jo Jung-seok, who plays the gentle yet firm Jung-hwan, and Choi Yu-ri, who plays the lovable daughter Sua, who cannot easily be let go even if she becomes a zombie, contribute significantly. Of course, Lee Jung-eun, Yoon Kyung-ho, and Jo Yeo-jeong, who co-star, also add momentum by perfectly embodying their characters. As someone who has seen the original work, I am satisfied just to see the 'effort hand' gag in live action. On the other hand, the film has clear limitations; since the original was episodic, the story feels less smooth as it is woven together. Additionally, things that were overlooked in the comic become overly kind in the film's world. Therefore, elements that should create tension do not evoke much tension, making it feel somewhat flat. A zombie-themed film set in a kind and relaxed world. This point is likely to clearly divide opinions. Nevertheless, I want to express my approval for completing the work without detracting from the original (the original author Lee Yoon-chang also makes a cameo). However, the strongest dissatisfaction I want to express is with the two inserted songs. While they are indeed popular and suitable for the message, it is regrettable that they evoke a strange sense of alienation in a film that should have been more ambiguous in its historical background.

Kim Ji-yeon_ When a Fresh Theme is Dressed in Familiar Formulas

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It is smooth and intuitive. It is far from a film that divides opinions. Therefore, it is likely to be a hit. Conversely, this means that its uniqueness is somewhat diluted due to its typicality. Thus, it may be a film that is generally acceptable to everyone but does not leave a vivid impression after watching. The fresh theme of 'taming zombies' is neutralized by predictable formulas. The film directly expresses the humor of the original webtoon, which had a strong black comedy color, and claims intuitive comedy. This is both a disadvantage and an advantage, and for a film aimed at 'the whole family' for summer vacation, it is a clever choice. Moreover, while it is smooth, it is not sophisticated, giving the impression that it depicts nostalgia from the 2000s despite being set in modern times, which may resonate with middle-aged audiences. However, if one expects a bold leap across the boundaries of horror and comedy like 〈Handsome Guys〉, it may feel bland. Nevertheless, it is a safe choice for audiences seeking 'safe enjoyment'. The film also offers a small lesson that makes one ponder what the 'zombie daughter' is an allegory for.