A terrorist called 'The Plague Spreader' has unleashed a virus on the world. First, it caused a wave of infertility and brought the birth rate down to zero. It killed the women, and then the men. Then it brought them back. Even the pope has committed suicide! Igor (Alex Lucchesi) and Alen (Guglielmo Favilla) are two survivors given shelter and food by by scientist Gyno (Claudio Marmugi) in exchange for bringing back zombie test subjects while scouring the countryside for other survivors. Among Gyno's test subjects is Alexis (Rosella Elmi), Alen's wife who is infected yet alive (possibly due to her unauthorized participation in a highly unethical and illegal fertility experiment). Gyno requests that Igor and Alen visit the far-off Sector F in search of zombie tests subjects while looking for survivors, but they take side trips to trade zombie body parts for beer with a morbid and demented artist nicknamed "Caravaggio" - or "Arsehole" as Igor calls him - and to settle a score with Rudi (Riccardo Floris), right hand man of a band of neo-Nazis headed by Fuhrer (Fabiano Loi). While driving in the countryside, they pick up a radio broadcast by The Plague Spreader and go after him. They discover young Christina (Elisa Ferretti) who may be the terrorist's daughter, meet some talking zombies, and discover from Alexis' old research partner Dr. Cangiato (Roberto Mariotti) that Gyno's own experiments have a more sinister intent and may bring on something worse than a zombie apocalypse. Although German-born big budget American schlock (or dreck) director Uwe Boll's (HOUSE OF THE DEAD) name is plastered all over the promotional materials, he did not produce this film. Directors Boni and Ristori sent promo videos and emails out on the web in search of support and promotion, and Boll was reportedly the only person to answer them. However one may feel about his films, his name aroused enough curiosity among horror fans to get EATERS noticed. The result is a very well-made if derivative zombie epic/road movie with some cool prosthetic zombies make-up and animatronics (the effects were supervised by co-producer David Bracci, who once worked under Dario Argento's regular special make-up and visual effects designer Sergio Stivaletti) - if one discounts the mix of CGI blood and fake blood that obviously hits a sheet of glass between the zombie and the camera - although there is very little flesh-eating on-camera. Lucchesi and Favilla are good leads, but their characters are rather lazily contrasted (Igor is an extreme pessimist while Alen always wants to give people the benefit of the doubt, even though he has no more reason to trust them than Igor). Ferretti is also good as Christina, and Marmugi and Floris appropriately chew the scenery (though, not as zombies). Although cast as the central zombie (well, living dead hybrid), Elmi does not have much to do. Some of the plot holes draw attention to themselves (despite the high voltage fences, Gyno's compound seems sloppily protected, the heroes always stop their car in clumps of trees and shrubbery where zombies can suddenly pop up, and we learn little of what qualified the two of them to become zombie hunters post-apocalypse). Like the Uruguayan horror movie THE SILENT HOUSE, EATERS was shot on a Canon DSLR (the EOS7 in this case), which yielded a very strong image to start with. The directors quip that although they tried to avoid the amateurish look of their zombie shorts, the budget for EATERS was "less than a wedding video," but the look of the film is quite impressive (thanks to a lot of color correction and digital matte work) if unoriginal. Justin Bennett's and Stefano Rossello's score lend a further degree of slickness. Compared to other entries in the current glut of zombie epics, EATERS strongly resembles - for better or worse - the current look of a mainstream horror movie.