Zak Hilditch has a gift for making the end of the world feel uncomfortably small and intimate. In We Bury the Dead, he moves away from the global panic of These Final Hours and the period piece dread of 1922 to give us something that feels like a heavy, dirt-stained funeral shroud. Set in the immediate, muddy aftermath of a U.S. military experiment gone wrong off the coast of Tasmania, the movie isn't interested in the why of the catastrophe as much as the how of the mourning. It is a film about the physical, back-breaking labor of grief, and it is easily the most grounded work Daisy Ridley has ever put on screen. The setup is bleak and procedural. An experimental weapon detonates, wiping out Hobart and leaving the rest of the island’s population brain-dead. But as the military and civilian volunteers quickly realize, these bodies don't stay still. They regain motor function, becoming a quiet, stumbling breed of the undead that are more tragic than they are terrifying. Ridley p...