12 years after the Zombie Apocalypse Virus was released (12 A.Z.) and the US and Soviet Union jointly detonated all of their nuclear arms at tactical sites in hopes of wiping out the zombies, the world is a wasteland where the zombies outnumber the living, and the living can be even more monstrous than the dead. Ex-soldier Knox (Johnny Gel), who has been running around with a group of ruthless ex-military soldiers called The Marauders and lead by the sadistic Rome (Jerry Lynch), is saved from death-by-fire for treason by fellow Marauder Maddox (Jeremy rush) who dumps him in the middle of the desert (and is promptly burned alive for his efforts). Knox finds himself rescued by a roaming crew of survivors lead by Moses (Fred Williamson, MEAN JOHNNY BARROWS, still chomping on cigars and saying things like "I'll make your pain legendary"). Although Knox is disliked and distrusted by Moses' second-in-command Roberts (Joseph Scott Anthony) and inevitable love interest Sarah (Alicia Clark), Knox proves his expertise with firearms and tactical intelligence. When Knox takes out two of Rome's scouts, he knows that Rome will send a more heavily-armed unit out after them. Knox, Roberts, Hawkins (Vong Lee), and Billy (Didrik Davis) hit a supermarket to replenish supplies and run into Rome's Force Recon unit (lead by his BAMF bazooka-toting, skimpily-dressed mistress Cienfuegos [Angelique Sky, HOSTEL PART III]), but their numbers are leveled out by the arrival of a horde of zombies. Moses decides that they need to move the camp. While Moses and Sarah supervise their camp's uprooting, Knox, Roberts, and Lawrence (Tokkyo Faison) head into zombie-filled downtown to quickly horde any leftover supplies. While they are battling running, growling zombies, the camp is hit by a unit lead by Rome and several of the extras are slaughtered. Survivor Lucas (Tommy Beardmore) informs them that Moses and Sarah have been taken by Rome, and Knox leads an offensive against Rome's cathedral fortress - which looks appropriately decrepit in color-corrected night scenes but perfectly-maintained in day shots) to save their friends (with the help of a zombie horde baited by one of Rome's captured men being dragged behind their vehicle).

Evidently a sequel to director Ryan Thompson's own ZOMBIE APOCALYPSE (2010) - and two like-titled shorts - ZOMBIE APOCALYPSE: REDEMPTION only really sets itself apart from the glut of recent zombie films with its retro feel. While Thompson's previous zombie film was touted as being inspired by John Carpenter's eighties genre films and that is probably the inspiration here (with nods to RESIDENT EVIL and Zack Synder's remake of DAWN OF THE DEAD), ZOMBIE APOCALYPSE: REDEMPTION genuinely feels like some of the low-budget DTV-destined horror/sci-fi flicks of the eighties and nineties put out by Empire Pictures, Full Moon, Nu Image and the like (perhaps by way of Stu Maschwitz's "The DV Rebel's Guide") with its synth score (by Steve Longworth) to its ESCAPE FROM NEW YORK/ROAD WARRIOR punk-ish post-nuclear villains. All of this is really not a bad thing, nor is the cliche-ridden script which includes lots of "world-weary, tough guy" dialogue delivered through clenched-teeth, the desensitizing act of zombie killing turned into a betting match, a sadomasochistic relationship between Rome and Cienfuegos (who, of course, also has a history with Knox), Roberts' outspoken distrust of Knox and his eventual respect for the hero's working methods, a "getting ready for the final assault" montage, the hate-love budding relationship between Knox and the suddenly-easy Sarah, and Sarah being stuffed into a skimpy outfit to be menaced by Rome in his lair (she also gets to face off hand-to-hand against an equally scantily-clad Cienfuegos), and the bitten guy backed into a corner has an explosive surprise for the encroaching zombies. The problem is that none of the cast members - other than Williamson - have the necessary charisma to pull off their characters in an entertaining manner. Lynch chews and spits out the scenery, and says things like "If I want your opinion, I'll rape it out of you," but is no Joe Pilato (as far as ruthless, military psychos go). For most of the script, the zombies are tangential to the action and only show up when convenient; but when they do show up, the filmmakers thankfully do not eschew flesh and gut-ripping prosthetics and entrails in favor of CGI (although bad CGI does rear its ugly head in a handful of explosions - although, to be fair, a lot of those eighties and nineties films had experienced miniatures and optical effects artists who were accustomed to working on low budgets - and plenty of gun-play). Hopefully director Thompson (who also photographed the film), having shown that he's proficiently mastered the post DAWN OF THE DEAD remake/28 DAYS LATER zombie action movie template (lacking performances aside), will try something else in his next genre outing (or at least give us a zombie movie with a bit more soul).