Maggie

I was curious to see what this film was going to be like, but I really didn't expect to get this excited. This very original approach to the zombie genre is a welcome change, both Arnold and Abigail Breslin act great, the intimate gloomy atmosphere is quite palpable, everything feels entirely authentic. I'm sure I won't forget a number of scenes from Maggie and that I'll be watching it again soon. (09/16/2018)

Terrence Malick's style farewell to his daughter. The concept is quite nice, but the way it is eventually put into practice is rather a letdown. The melancholic atmosphere works quite well, but in terms of acting it is not typical. What is telling is that pensive Arnie whose acting seems to be desperate and inappropriate is the better part of the central duo. (08/03/2015)

Arnold Schwarzenegger is definitely not a weak link in this movie, where he surprisingly plays a believable role. Moreover, he tried to suppress his accent a little bit, which turned out quite well. This film definitely deserves more attention than it has received, or rather more positive reviews, because although the genre doesn't change, it certainly manages to come up with something that is not traditional and that works. (02/12/2016)

Essentially, this movie is depression multiplied by the derivative of the logarithm to zero. That is pure depression at the point of no return. This impression is created by the story, post-apocalyptic locations and the music in itself, which is properly gloomy. It is hard to rate a film like that. Anyway, I am glad that Arnold Schwarzenegger delved into something like this. It is completely different from his usual kind of movies and he managed to do it with grace. Alongside Abigail Breslin, who literally changed in front of everyone’s eyes. I am not going to watch this again but I have to say it was really strange 95 minutes. And as far as composers go, David Wingo is a name I’m beginning to be curious about. (05/21/2015)

A commendable attempt to make the world's most depressing film uses every mainstream cinematic device invented to induce despondency, namely gray filters, handheld camera, close-ups on faces, decimated landscapes, the American Midwest, dim artificial lights, and Arnold Schwarzenegger attempting to act. As for the latter, he deserves a puppet for effort, but any acting credit is more a factor of his age than his actual training (plus, how is it possible not to unlearn that infernal Austrian accent in 50 years of living in the US). It's just that Maggie isn't just an instant purchase of trendy depression set in a profitable zombie apocalyptic universe. On the contrary, through its hopelessness and gratuitousness, it brings back to the perpetually scarred zombie genre a real tragedy and sensibility that has slowly disappeared from it due to the glut of movies, comics, and TV shows, and which previous creators have tried to induce with ever increasing panic by featuring younger and more innocent characters. In Maggie, the children are removed from the vicinity of the irreversibly infected protagonist (who is the physically atypical for a US film Abigail Breslin) right at the beginning of the film. For the rest of the film, we don't learn much about the characters and yet we sympathize with them, proving the universality of the sense of loss and the irreplaceability of the individual, the exact opposite of what the endless zombie shows or other franchises have taught us so far. (11/02/2015)