The lead is an obvious loner in a vibrant city before its 1st turning point. Its problem of storytelling isn't so much him finding an inevitable social connection, but its lonesome, repetitive, and unaffected journey there. Ever wonder why Hanks has (and needs) Wilson quickly in Cast Away? A screenplay that doesn't find a way for its character to emote for 1/2 its length isn't a success of writing... but a warning.
A hyperventilated version of the Romero trilogy:(most) people turn into zombies overnight, the viewer gets absolutely no explanations, instead the movie concentrates on how the survivor deals with loneliness and being an outsider. “La Nuit” could’ve been great, yet the clumsy mono-/dialogues and pretentiousness take the edge off. I blame the language: spoken in English, yet made by non-native speakers. You feel it.
(3.5) It's a good effort at something that had been missing from the zombie movie genre. You know, the "serious zombie movie". Vampires had "Let the right one in", fast zombies had "28 Days later". Now real zombies have this one. Loneliness, domestic archaeology, surviving. The post-apocalyptic analogies to daily life, social schemes, emotional relationships, family, etc., are really subtle, but very, very honest.
Huis-clos fantastique bienvenu qui sans être inoubliable ni transcendant, parvient tout de même à mordre auprès d'un public souvent en connivence et en complicité scénaristique, sans pour autant égaler ou dépasser une production allemande (Berlin undead) du même acabit mais bien plus séduisante et qui ne fut pas distribuée dans l'hexagone... www.cinefiches.com