4.5; Never □□□□before have □□□□ I seen a z □□□□ombie film □□□□with so man □□□□y layers. T □□□□he symbolic □□□□ meaning of □□□□ the infect □□□□ion is anno □□□□unced from □□□□the very be □□□□gi国产成人精品nnin一区二三区熟g thr □□□□ough footag □□□□e and words □□□□ to be 'rag □□□□e', and the □□□□ violence i □□□□nduced by i □□□□t henceforw □□□□ard becomes □□□□ the centre □□□□ of the fil □□□□m's critici □□□□sm. But wha □□□□t adds to t □□□□he film's c □□□□omplexity i □□□□s the fact □□□□that the pr □□□□otagonist i □□□□s empowered □□□□ only by ra □□□□ge to fight □□□□ for those □□□□he loves an □□□□d defeat th □□□□e purposele □□□□ss soldiers □□□□, who by co □□□□ntrast figh □□□□t for nothi □□□□ng but them □□□□selves. The □□□□ film thus □□□□indicates a □□□□ place for □□□□violence in女 □□□□ humanity a □□□□nd hints th □□□□at violence □□□□ is not inh □□□□erently the □□□□ abject. It □□□□ also draws □□□□ a comparis □□□□on between □□□□two archety □□□□pes of fath □□□□erhood: per □□□□missive & a □□□□utocratic □□□□