The Battery

Ben (Jeremy Gardner) and Mickey (Adam Cronheim) survived the zombie apocalypse with a little luck and lots of patience inside a house surrounded by the undead. Now they travel around in the country with a simple strategy to survive: keep moving, so they can't catch us, and stay away from the towns and cities where most of them are lurking.

You might divide Zombie movies into 3 types: stage 1, when zombies only occur on remote islands, while the rest of the world doesn't notice ('White Zombie', 'I Walked With A Zombie', or Lucio Fulci's 'Zombi 2'). Stage 2, when a city is overrun, but with the aid of military forces, mankind may still emerge victorious ('Return of the Living Dead', Lenzi's 'Nightmare City'). Stage 3, when the zombies won and only few survivors are hiding or running ('Day of the Dead', 'Resident Evil: Extinction'). The problem is, too many 'stage 3' movies have been shot in recent years, including the TV series 'The Walking Dead' which took the commercial potential to a whole new level. So, if you pushed apocalypse to the top already, where can you go from there? 'The Battery' aka 'Ben & Mickey vs. the Dead' recognized you cannot push destruction and violence any further, so it takes apocalypse from a huge scale down to a small personal level. Ben and Mickey don't massacre the undead. They just try to stay out of the way and live a life with small pleasures. They'll be happy to find a toothbrush, clean socks, batteries for the CD player or a bottle of booze. The lack of heroic ambition and the wish to avoid fights leads to a lazy life (with the risk of an early demise, nonetheless). If viewers describe the movie as boring, slow or uneventful, that's because the two main characters love to live as uneventful as possible. The orchard, where nobody could pick up the apples because they are all dead, is a quiet and ultimately disturbing symbol for the decay of the world – you don't need to show a burning city for the same statement. The movie is kind of unique in its modesty - and very tongue-in-cheek, too. In my opinion, it deserves to be watched because it takes a different approach to the zombie genre, which is hard to achieve in a genre that accumulated so much attention of movie makers in recent years.

I love film and I love it even more when it sneaks up and surprises me with something completely unpredictable and original. Jeremy Gardner's The Battery, made for only $6,000 and released on video-on-demand outlets as of June 4, 2013, is one of the most surprising endeavors I've stumbled upon in months. It's a free-spirited, "anti-zombie zombie movie," combining wonderfully played dialog, palpable circumstances, and enough wit and soul to liven an entire franchise of movies. If this is the future of independent horror, I got some serious renting to do.

Gardner, who directed, wrote, and produced the film, stars as Ben, traveling down the back-roads of Connecticut with Mickey (Adam Cronheim), both of whom were once ballplayers. Their polar-opposite personalities and resistance of closeness and bonding tells us they weren't the two sitting next to each other at the bar when they celebrated a win. Ben and Mickey are traveling the back-roads in an attempt to flee the zombie apocalypse and find adequate shelter.

I'll interrupt myself by saying that I use the phrase "zombie apocalypse" loosely; very loosely. Gardner is smart to shove the undead to the background, while the relationship and humanity of Ben and Mickey proudly takes the foreground here. While both men may not be the best of friends, neither would've gotten far without the help of each other. Mickey is petrified of "zombies" (I put the word in quotes since the only time the word is uttered is reluctantly and hesitantly indicating the overusing of it in recent times) and leaves all the killing and maiming to Ben, who likely would've went insane without the companionship.

The device used to unite the men are Mickey's headphones, which do different things both both men. Mickey uses them to temporarily close out the world around them; he employs them when he is frazzled or nervous about the dubious times. Ben uses them as a lighter form of escapism, cheerily dancing to Rock Plaza Central's "Anthem for the Already Defeated," making for one of the best scenes in the entire picture.

The Battery works so well because it doesn't try to be just another film capitalizing off of the incredibly childish, overblown idea of a zombie apocalypse, which would be much easier to do in the wake of The Walking Dead and World War Z. An "anti-zombie zombie movie" is the perfect way to describe this picture. Despite placing emphasis on the undead, the film's focus is on the living, making for a very realistic, pragmatic take on a relationship that may come through during such an abhorrent event.

With sun-soaked cinematography by Christian Stella, capturing the woodsy atmosphere and the sweltering climate of the wilderness and vastly open plains of grass and wheat better than any films I've seen in recent years and a soundtrack composed of delightful but not cliché indie rock tunes, aesthetically, The Battery has it all to a tee. This is certainly one of the best looking films of the year, as well. While this is Gardner's first formal outing, he conducts it like an incomparable professional, staging shots that are tricky and clean, making use of a setting for more than twenty minutes, and even holding on one continuous shot for eleven minutes. None of this is boring, by the way. The final act takes place entirely in a van and is one of the most intimate, realistic exchange between two characters I've seen in a film like this, mainly because the conversations and exchange of thought it so typical and atypical to the situation. Regardless, the film is wholly unpredictable and that's one of the highest compliments I can pay to a film.

Stories like Ben and Mickey's are far more interesting than redundant survivalist drama in the wake of an apocalypse or a subversive yet lukewarm look at zombie romanticism. If we're past the point of ques and cinematic semantics and are formally referring to the The Battery as a horror film than this is, by far, the best horror film of 2013. It certainly is one of the best dramas of the year as well. And comedies. And action films. And thrillers. And satires. And films in general.

Starring: Jeremy Gardner and Adam Cronheim. Directed by: Jeremy Gardner.

As those enticed by the sport of baseball will know well, a "battery" is the two person team of the pitcher and catcher, also known as batterymen or batterymates and so to is the source of the relationship between Ben and Mickey, two wandering souls in a world consumed by the zombie apocalypse. But the title of this immensely intriguing low budget project shares a duel meaning as Mickey's collection of batteries he keeps in his travel pack holds the power of denial, allowing his Discman and a bundle of CD's to shut out the world. All his companion keeps a checklist of the number of undead he offs with his bat or revolver. This is but one of the intriguing dynamics present in The Battery, a very deliberately paced but ultimately very satisfying approach to the genre.

In all honesty calling The Battery a zombie film at all would be a misnomer as this time around the stumbling monsters are relegated to bloody window dressing with the film instead focussing on the relationship (and unlikely bond) these two very different people share. Ben is brash, aggressive, unnecessarily assertive and very frank, whereas Mickey is a meek romantic, the type who upon hearing a woman's voice over a walkie talkie immediately dreams of the potential for some sort of a far fetched relationship. Despite appearances, these two need one another – Ben relying on Mickey to keep him sane and Mickey on his caveman like partner to protect him and ultimately keep him in the moment.

I know for a fact however that there will be people who despise The Battery, and not because of the genre to which it belongs. This is a very slowly paced film and also one that fills a good portion of its running time with no dialogue scenes of the two traversing the sun soaked New England countryside. Other extended sequences simply fixate on Mickey listening to his music, often playing entire songs without anything else but a static shot of the actor's face. "Maddening" (and certainly "boring") will be used by some but for me, despite some similar issues, The Battery had a transfixing quality and a strong, emotionally satisfying payoff.

The pitfalls of any micro budget ($6,000) flick remain, from having to skimp on makeup effects (which is still quite respectable actually) gore, the best props, ability to shoot scenes multiple times, etc all remain and with first time director-writer-star Jeremy Gardner at the helm, hiccups were to be expected. He and co-star Adam Cronheim's acting chops dip from time to time though they do better than most considering the circumstances. What I enjoyed most about Gardner's script was its blunt depiction of the way two twenty-something dudes would talk, swinging between simply silence and to-the-point sarcastic banter. This is a shoot the **** writing style and it works more often than not.

As the finale rolls around we find our leads trapped in their car, without keys and a horde of the undead surrounding them and rocking the vehicle without fatigue. It starts out very comedically but slowly loses that quality and becomes quite maddening, a feeling or protagonists certainly share. The very final (unbroken) shot was reportedly 17 minutes long originally but was then cut to 11. It's a fantastic and effective ploy but one I think would have been even more searing if it hadn't been preceded by so many other long takes. The third act as a whole is melancholy in its construction but also rousing and triumphant in a way and also offers a neat spin on the oft seen refuge camp, a la The Governor's Woodbury in The Walking Dead.

In fact in spite of its budget The Battery employs a number of interesting approaches to the genre (if not every completely fleshed out) such as how to baptize the uninitiated into the art of zombie killing, how one might satisfy their "needs" in the situation and simply how two guys might actually react to the situation and where they (or at least one of them) might feel safe to sleep at night. Blended with the indie soundtrack (one that never goes into quirky hipster territory) strong editing and its unwavering approach and style, The Battery is a singularly unique take on the zombie phenomenon and one that is nothing close to something I would recommend to everyone.

Sweet baby Jesus in a handbasket, you may just die of boredom before this movie ends. Painfully bad... still watched to the end, it IS a zombie movie but that's where its positives begin and end.

In fact, this just may be the first zombie movie I've ever deleted. This film takes everything that could possibly be crap about a movie and stuffs it into an interminably long focus on a catcher stuck in the friendzone as his pitcher mate hankers after anything with breasts.... notable scenes include pitcher masturbating in car as zombie girl crushes bloodied knockers against the window. A game of catch. Rolling Landscapes. A game of catch. Rolling forest. A game of catch. Rolling landscape. A quick game of catch followed by a quarter hour study of the interior headlining of a Volvo. Exciting stuff. Oh dear.... never again.

I will admit that there were a few memorable and clever scenes.

Despite this, as a whole the movie was a too-long series of montages set to too many hipster tracks leading to the final act, which actually displayed the potential for a story.

I understand the budget was small, but that doesn't excuse the lack of story. Shouldn't a good film be story and character-driven? I don't really feel that enough time was spent on either. I felt nothing for the characters. Why resort to musical montage filler that doesn't actually contribute anything?

If the intent for this film was to be an artsy vehicle for the writer / director/ producer's musical interests, well then good job!

Nice effort, but I struggled to stay awake.