Director John McPhail throws everything at the screen in his musical-horror-comedy-Christmas-gore-fest ANNA AND THE APOCALYPSE. Anna (Ella Hunt) and her friends think university plans and relationships are the hardest part about growing up. Clearly, they hadn’t factored in a zombie rampage that puts a dampener on the holidays but a smile on audiences’ faces.

With zombie stories all-but done to death (largely thanks to the lumbering slog that is The Walking Dead) you’d think there can’t possibly be anything new to add to screens. Luckily, McPhail’s uniquely bizarre sense of humour breathes life into the tired genre. Centred around Anna’s friends as they wake up one morning to find the undead have destroyed civilisation, they battle their way through a hostile snowman, wicked elves and a maze of Christmas trees to reunite with their parents trapped in the high school.

There are some growing pains in the first act. Some of the dialogue is clichéd and the central characters all undergo the usual teen troubles. Anna argues with her father (Mark Benton) about taking a gap year; the best friend who is in love with her; the misunderstood bully and the lonely girl who strives for attention. The weird blend of coming-of-age comedy with the more fantastical elements takes a moment to get used to, but once you give into the silliness and embrace the film for what it is – a strange alternative to the usual Christmas fare – there is a lot of fun to be had.

“There are several references to famous horrors, the most obvious homage being to SHAUN OF THE DEAD…”

Ella Hunt proves to be an effective lead as Anna. Paul Kaye hams it up as the snarling, maleficent Deputy Head Savage. He switches from reluctant supervisor of the school’s Christmas play to straight-up panto villain, kicking about with such camp glee you’d think you were watching THE ROCKY HORROR PICTURE SHOW. The film works best when at its most ridiculous, with joyful songs and adept dance numbers.

There are several references to famous horrors, the most obvious homage being to SHAUN OF THE DEAD with a morning walk through town whereby Anna and John are so caught up in their music they are completely oblivious to the death and destruction all around them. Directed with flair, vibrant colours and catchy tunes, the film is easy to warm to. Some of the dramatic moments miss their mark, but by the blood-splattered finale, the characters have shown enough heart and resolve to make you root for their survival. There is some admirable subversion of the genre, with strong female protagonists and a wise rejection of the ‘kill the lesbian’ trope. The group avoid many of the stupid decisions common in horror, making everyone refreshingly likeable.

Afforded the chance to meet John McPhail after a screening of the film, it is safe to say his own passion and ambition come across onscreen. Energetic, informal, and bracingly honest, he gives off vibes of the fictional Billy Walsh (TV’s Entourage) but without the pretension. The type of director with a specific vision that doesn’t give a damn if he fails as long as he has fun along the way. ANNA AND THE APOCALYPSE boasts an abundance of fun, with the good components definitely outweighing its flaws, and giving the zombie film a surprisingly efficient twist.