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      • “#Alive” is one of those zombie movies that simply looks at the apocalypse as a test about choosing hope—sometimes they struggle with it, especially as they often have to fight off the hordes of zombies coming their way. But true to the story's sentimentality, good news often comes with all too convenient timing.
      www.rogerebert.com › reviews › alive-movie-review-2020
  1. Well-acted, genuinely unsettling, and occasionally even funny, #alive proves the crowded zombie genre still has fresh stories to tell. Read Critics Reviews

    • (25)
    • Yoo Ah-In
    • Il Cho
    • Zip Cinema
  2. Sep 9, 2020 · “#Alive” is the middle-ground of a zombie story, in that its bleeding heart emotions are unmistakable, and the zombie stuff can be good enough, with detailed make-up work and creepy choreography creating some nightmarish extras.

  3. Thanks to top-notch performances, genuinely gruesome special effects, and a tight script, #Alive manages to overcome genre pitfalls and predictable plot twists and deliver something truly...

  4. The story of the Andes survivors may be one of them. After their plane crashed high in the mountains on a flight to Chile, they survived for most of a winter in the shell of their wrecked aircraft, living on wine, chocolate and the flesh of their dead comrades.

  5. Sep 11, 2020 · A Korean import now streaming on Netflix, “#Alive” deftly mingles the zombie and siege genres. Escalating “food is running out!” tension only adds to the lockdown suspense.

    • Il Cho
    • Elisabeth Vincentelli
    • 98 min
  6. Sep 8, 2020 · Netflix’s #Alive tries to keep it original in an unoriginal genre. The Korean film effortlessly directs the perspective of being closed in an apartment — how rain becomes a decisive event or a neighbor communicating with you from another balcony.

  7. #ALIVE is a South Korean film with a very simplistic and familiar presence - a young man hides out in his apartment during a zombie apocalypse - that some have linked to the French indie THE NIGHT EATS THE WORLD.

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