Film Review: Residence (2025) - Australia
Reviewed by Andrew Chan (Film Critic Circle of Australia)
I rated it 7.5/10
Support my reviews by buying me a Coffee! https://buymeacoffee.com/neofilmblog
Support our reviews by buying from official DVDs / Blu Rays at NeoFilmShop.com
Leave it to the Australians to take the well-trodden path of the zombie apocalypse, drag it kicking and screaming through the scrub, and set it loose in a medieval theme park. Aussie director Matt Mirams' “Residence” is precisely that gonzo concoction: a micro-budget, blood-soaked Aussie Gothic comedy that shouldn’t work nearly as well as it bloody well does. It stumbles, yes, occasionally tripping over its own shambolic ambition or the limitations of its coin purse, but its sheer, unadulterated heart and uniquely Antipodean swagger make it a wildly refreshing jolt to a genre often content to reheat leftovers.
The film’s masterstroke, its beating (and frequently torn-out) heart, is its ensemble casting. Mirams has assembled a rogue's gallery of Australian actors, led by Jeanette Coppolino, Kym Valentine, Harrison Popple, Luke Benson and the promising young Ellie Stewart together ground the chaos with genuine emotional stakes, ensuring the film never devolves into mere splatterstick, even when entrails are flying. Director Mirams joins in the fun in the later stages as the “King” of the fun castle.
The humour here is unapologetically Australian, wickedly dark, and laced with satirical barbs aimed squarely at modern consumerism and our tech-induced isolation. Setting the survivors' sanctuary within the crumbling faux-ramparts of a medieval fun park ("Ye Olde Sanctuary") is a stroke of genius, allowing for both visual gags (zombies impaled on plastic battlements) and sharp commentary on the absurdity of clinging to pre-packaged fantasies in a genuine crisis. The gore, remarkably, is another high point. On a shoestring, Mirams and his team deliver practical effects that are gloriously messy, inventive, and plentiful – a high body count executed with grisly charm that will satisfy the most ardent horror purist.
“Residence”, however, is not without its wobbles. At a shade over two hours, the pacing occasionally sags like a wet Akubra. The episodic structure means some vignettes land better than others, and certain character moments, particularly lengthy monologues delving into past trauma, feel less like organic development and more like awkward "trauma dumping," halting the otherwise energetic momentum. The micro-budget origins are also visible in the early going; some performances feel tentative, some line deliveries clunky, before the ensemble fully clicks and the narrative engine truly roars to life around the midway point.
“Residence” is a wild, fever-dream rollercoaster of a film. It’s rough around the edges, occasionally baggy, and proudly wears its low-budget heart on its blood-splattered sleeve. But its flaws are almost inseparable from its charm. This is filmmaking driven by passion, ingenuity, and a distinctly Australian sensibility – a blend of slapstick, satire, and surprising heart that evokes the global zombie spirit, but filtered through a Melbourne tram window. It succeeds not because it’s perfect, but because it’s bold, funny, genuinely affecting in spots, and unafraid to be itself. The creative use of Victorian locations, the commitment to practical gore, and that unique tonal blend of the ridiculous and the heartfelt make it a must-watch for fans of genre-bending horror-comedy done with local flavour. It’s a bloody good time, mate. Just maybe trim 15 minutes off the runtime next apocalypse. (Neo, 2025)