Deck the halls with songs and gory!
Christmas and zombies may not seem like a natural pairing, at least not for anyone who hasn’t tried to rouse the family to play some games following Christmas dinner, but Anna and the Apocalypse makes a strong case for the combination. This Scottish film blends festive cheer, undead mayhem, and musical theatre into an unexpectedly delightful and surprisingly heartfelt tale of survival and self-discovery. It’s Shaun of the Dead meets High School Musical with a sprinkling of blodd-soaked tinsel.
At the heart of the story is Anna (Ella Hunt), a teenager in the sleepy town of Little Haven, whose dreams of escaping her mundane life are interrupted by a full-scale zombie apocalypse. As she and her friends fight to survive, they learn valuable lessons about love, friendship, and the importance of sticking together—even when the world is falling apart. What sets this film apart isn’t just its undead twist but the way it punctuates its narrative with original songs that range from heartfelt ballads to toe-tapping anthems.
Ella Hunt shines in the lead role, bringing a grounded, charismatic energy to Anna that keeps the story relatable despite its absurd premise. Her chemistry with the ensemble cast—including Malcolm Cumming as John, her best friend harbouring an unspoken crush, and Marli Siu as the delightfully sassy Lisa—adds emotional weight to the carnage. The cast’s infectious enthusiasm helps sell the film’s tonal balancing act, shifting seamlessly between humour, horror, and heartfelt moments.
The film’s musical numbers are its greatest strength, with songs like “Hollywood Ending” and “Turning My Life Around” serving as both narrative drivers and show-stopping moments in their own right. The choreography is spirited, and the lyrics cleverly blend teenage angst with holiday themes. However, some of the later numbers lose steam, feeling less integrated into the story as the action intensifies.
On the zombie front, Anna and the Apocalypse doesn’t skimp on the gore. The undead are suitably gruesome, and the film has a knack for creative kills that make full use of its Christmas setting—think candy canes as weapons and snowmen with sinister undertones. The horror elements are played with a knowing wink though, never tipping too far into outright terror and keeping the film accessible for those who might normally shy away from zombie flicks.
If there’s a downside, it’s that the film’s tonal juggling act occasionally falters, hardly a surprise given the ambitious mix of genres. While it mostly works, there are moments when the shifts from comedy to tragedy feel a little too abrupt. Additionally, some of the subplots—like Anna’s strained relationship with her father or the villainous turn of school headmaster Mr. Savage (Paul Kaye)—could have used a bit more development to fully resonate.
Still, Anna and the Apocalypse is a rare gem: a film that dares to be different and mostly succeeds. It’s a quirky, blood-splattered ode to growing up, wrapped in holiday cheer and set to a catchy soundtrack. Whether you’re here for the zombies, the songs, or the Christmas spirit, it’s a film that delivers on all three.
