The film tells the story of a deadly zombie virus that has put a plague on the world. When Maggie, a vivacious young woman becomes infected, her father brings her home to let her be with their family. As Maggie’s condition worsens, their relationship is tested, a father’s love holding on stronger than the disease. This heart-...more
The film tells the story of a deadly zombie virus that has put a plague on the world. When Maggie, a vivacious young woman becomes infected, her father brings her home to let her be with their family. As Maggie’s condition worsens, their relationship is tested, a father’s love holding on stronger than the disease. This heart-wrenching twist on the zombie apocalypse puts a human face on an inexplicable horror. less
Doff your hats to Henry Hobson. His Maggie is an engaging, enterprising cinema, which could have been an even more aesthetic experience if his scripting was further burnished with polish and panache.
Still, his debutant directorial essay is an ennobling one that not only melds the emotional quotients so admirably while equally adeptly dealing with the theme of death and defiance in the face of inevitable odds.
A dad, instead of losing heart and hope, brings back his daughter from the confines of a quarantine to feed, fend and fuss over her, even as both know that its just a question of time before she is cruelly snatched away being stricken by a deadly disease.
Playing a subdued and non-blazing role of a dad not being overwhelmed by the weight of fate on him, it is a pleasure and pleasant sight to watch Arnold Schwarzenegger getting into the skin of a doomed dad doing his best for his darling daughter.
Likewise, Abigail Breslin, as the affected one, caught by a swirl of emotions and cravings that the zombie disease is dictating on her persona, has you rooting for her and wish her well.
What furthermore complements and elevates Maggie as a moving and magical cinema is the dark, dreary and dismal cinematography as also the haunting, sorrowful background score that provides the necessary lustre to the fateful play of death and defiance.
On the surface, Maggie may seem a film, that is a drag and rather tediously slow and tepid in its execution. However, given the nature of the narrative and the film’s overall thematic content, it is fireworks that is so moving and meaningful if one were to read allegorical undertones into it.
At least, for me, Maggie worked wonderfully and I was left much richer by the experience, being initiated into such cerebral and semantic cinema over a long time. Bravo! Henry Hobson, may your ilk grow, and we get to see many such films in future.