(In theaters, March 2007) With time, I’m learning that everything is possible, including seeing my tax dollars finance a zombie comedy. A good one, even: Like the best zombie films, Fido understands the satirical social relevance of zombies, and starts off strongly with a critique of suburban America mixed with a metaphor for slavery and/or racism. The alternate-history nature of Fido is clever and amusing, and so is the first act of the film, which plays off zombie archetypes against a brightly-coloured suburban background, with a plot that seems inspired by Douglas Sirk . At times subversive and amusing, gruesome and wholesome, Fido is a great deal better than you’d expect from a B-movie. Sadly, the imagination of its creators seems to run out at the same time than their budget, leading to a flat conclusion that is visibly hampered by shoestring film-making: the climax is a muddle, with no great thematic denouement and hesitant staging that can often feel more ridiculous than suspenseful. But three-quarter of a good film is better than none, and so Fido earns a marginal recommendation on the strength of being better than expected. That Carrie-Anne Moss has a leading role certainly doesn’t hurt.