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Saturday, October 10, 2026
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Netflix's Unexpected Latest Undead Movie Injects Fresh Air into a Overused Category

Typically, I've had my fill of apocalyptic horror. While favorites such as 28 Days Later and the early episodes from The Walking Dead proved enjoyable, this category feels mostly exhausted at this point. Even the much-awaited 28 Years Later has been gathering dust in my watchlist for months. However, Netflix's new Southeast Asian horror film, The Elixir, managed to subvert my expectations turning out quite enjoyable.

Impressive Pacing and Character Development

One of the film's strongest strengths is its superb pacing. It kicks off using a striking initial scene where a calm family gathering gets suddenly disrupted by a vehicle plows right into the seating section. From the wreckage, an extremely undead-looking stranger stumbles out and begins attacking the partygoers. This intense scene is immediately followed by a look back, allowing us to see this household before the disaster struck.

In contrast to numerous undead movies, The Elixir actually gives the audience enough opportunity to become acquainted with its main personalities before the carnage begins. We meet Nes, a wife and mother whose former close friend, Karina, has become married to her dad—a clearly uncomfortable dynamic. Naturally, this has predictably caused a rift among Nes and Karina. We also see Nes' brother, Bang, who is kind-hearted yet a bit inept socially, and who enjoys gaming with Nes' young son, Raihan. Nes' husband, Rudi, appears to have lately been unfaithful to her. This household head is Nes' father, the owner of a well-known natural medicine company called Wani Waras, and who seems to care about just two aspects: his work and his marriage to his daughter's ex-best friend. Needless to say, this gathering proves incredibly strained.

Engaged in the Drama

I found myself so engrossed in the family's dynamics along with their interpersonal drama that I nearly overlooked I was watching a scary movie—which might seem like a drawback, but in the end paid off. The Elixir spends a significant portion of the film depicting viewers who each relative represents, plus the ways they contribute to the overall dysfunction. This focus on clashing personalities enabled me to connect to the personalities enough to be concerned for their outcome—an uncommon feat in a genre which frequently introduces individuals just to kill them off soon after. The Elixir avoids portraying its cast as flat, disposable victims for an army of zombies to consume, so it's a genuine shock once events finally go wrong.

Reminiscent of Parasite

The opening scenes from the gathering and various household exchanges in fact evoke the film Parasite, a tale that masquerades as a K-Drama with somewhat morbid comedy prior to taking a sudden turn toward shocking territory. These early moments aren't centered too heavily on humor as Parasite, but The Elixir still provides sufficient opportunity to immerse in its world before everything gets upended.

Original Zombification Source

This movie also offers a fairly interesting explanation regarding the origin of the contagious transformation. Rather than a unintended laboratory incident or some sort of biological weapon, the source of this infectious condition stems from a recent batch from Wani Waras herbal remedies created by Nes' father. Although we do learn a bit about how it started, it would have been better if the movie had spent a little more time on how Wani Waras transitioned from a reputable purveyor of holistic medicine to creating a lethal elixir that appears to include an extremely infectious virus. Despite the lack of context, the effect this condition produces on people proves absolutely repulsive, which I appreciate. The Elixir's undead prove fast, bizarre in appearance, and, maybe most disturbingly, constantly grinning. This represents a bold decision, but it works. The Elixir's practical effects and CGI are also very realistic, and they're almost guaranteed to provoke one's trypophobia.

Resourceful Personalities

More impressive than the disgusting scenes are the characters themselves. Of course, we see some examples of questionable choices (as in any good undead film), but for the most part, Nes and her relatives show themselves resourceful and quick-thinking. Additionally, they don't hesitate to strike a zombie in the face, pierce it using a farm tool, or hit it over the head with the nearest blunt instrument they find instead of freezing like a deer caught in lights as death approaches.

Realistic Familial Discord

The Elixir doesn't abandon its focus on family conflict when people begin transforming into zombies, which was a welcome realistic subversion from that "We don't get along|"We have issues, but since you nearly died so I instantly forgive you for everything! cliché often seen in end-of-world movies. It's clear, Nes cares for her relatives and values her spouse, Rudi, yet it's equally apparent she's still holding onto resentment regarding his infidelity of their marriage vows. When the family gets separated, they agree over the phone to regroup at a close spot. But when Bang reveals he doesn't know the way to the location, Nes unleashes a massive amount of frustration toward Bang which has obviously been brewing for years. Nes is not flawless, and her family—flawed as it is—feel authentic and understandable because the film doesn't try to promote the idea that a near-death experience immediately resolves familial strife. This causes those instances when these characters express appreciation for each other feel much more sincere.

Predictable Ending

In spite of The Elixir's strong efforts to innovate, the conclusion is admittedly a bit formulaic. The Elixir doesn't truly presenting some profound insight regarding relatives or community, as well. Instead, it's primarily delivering scares. But they're effective scares, and because the movie gives each character enough room to grow and doesn't punish them for their imperfections, the outcome is a captivating and enjoyable

Written by

Lori Jordan

Sophie Jansen is a freelance writer and urban culture enthusiast based in Amsterdam, covering music, art, and street style.

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