Over the past several months I've joined the Blank Page Writer's Group based out of Marietta, Georgia (and hosted by The Blank Stage). It is a bi-monthly group in which screenwriters get together to not only discuss their screenplays but to also discuss the business and craft and screenwriting. In the last couple months the Blank Stage, through the Blank Page Writer's Group, have started to actually produce some of the short films written by some of the group members.
Although I cannot discuss the specific screenplays being written by the members of the group I do want to address that some of the writter's (through the group) are writing their fisrt screenplay while others are old pros at it. I took my screenplay THE NOCTURNAL inmto the group to try and help me fix some of the problems I was having with the story. In this regards, the group has helped me tremendously.
The format of the group's take on reading screenplays is that we will read pages from 2 different screenplays each meeting and then address what problems or potential problems the screenplay might have. Although I am not partial to this format of reading a screenplay (I prefer reading the whole thing in one sitting and then allow the time for discussion),
Regardless, this is a small price to pay in terms of the tremendous support and atmosphere of the group which has helped the group expand and become a very group atmosphere for writers.
The group has helped me see some of the problems in THE NOCTURNAL which is a good thing considering I needed that feedback in order to help the re-write process and hopefully get the screenplay into a better selling (or perhaps filmable) place.
Now all I have to do is get the re-writers done using the notes generated from the writer's group.
ABOUT THIS BLOG:
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Tuesday, November 10, 2009
Thursday, October 22, 2009
IS ZOMBIELAND GOOD?
IS ZOMBIELAND GOOD?
It dawned on me that after I posted my comment about the film ZOMBIELAND I got a lot of backlash, so, a friend of mine (being both the writers that we are) told me that I should post a note about my opinions on the film (although now that I think about it he probably meant it as a joke).
First off, let me just say that I’m probably a bigger fan of the genre then most people as I have made it abundantly clear that I not only watch zombie films but I study them as well and unlike most audience members and friends of mine, I’ve seen zombie films from countries all over the world from New Zealand (BRAINDEAD), Australia (UNDEAD), Japan (JUNK, ONE-CHANBARA), Norway (DEAD SNO), France (OASIS OF THE ZOMBIES), Ireland (BOY EATS GIRL), UK (28 DAYS LATER, SHAUN OF THE DEAD), Italy (ZOMBIE), and countless others, so, suffice it to say that I’ve been exposed to a lot of different cultures and the way in which zombies have been portrayed over the years.
American zombie films have up until recently been relegated to only two types – those of the traditional slow moving variety and those of the fast moving, and with the exception of Georgia A. Romero (writer/director of NIGHT OF THE LIVING DEAD -1968) the slow moving have all but become extinct. Funny zombie movies have always been around (as it wasn’t until Romero’s influential NOTLD that the genre was even taken seriously) with such notable films as MY BOYFRIEND’S BACK, RETURN OF THE LIVING DEAD, DEATH BECOMES HER, NIGHT OF THE COMET, FIDO, AMERICAN ZOMBIE, and countless others.
When ZOMBIELAND was announced it was reminiscent to the successful UK film SHAUN OF THE DEAD (which coined the term “zomcom”) even though the filmmakers claimed in numerous interviews (from FANGORIA to RUE MORGUE magazine and beyond) that they were trying not to make a film in which characters throw records at zombies. The trailers for the film are actually a testament to the brilliant marketing plan for the film as it describes a fun and entertaining horror comedy. And the final result is all that and a bag a popcorn…but that’s all that it is.
I applaud the editor and the opening credits team for creating one of the best credit sequences since the one crafted for S7VEN or FIGHT CLUB but the problem is that the trailer was everything in the opening credits. That’s a little disconcerting considering it gives the impression that there will be zombie-madness and mayhem throughout the film. This is not the case.
For the first half of the film the filmmakers do a great job crafting a “road trip” film as we get to meet all the characters. The flashbacks for both the Woody Harrelson and Jessie Eisenberg’s characters do a great job in introducing how they ended up in the place that they are when the film begins but the two female characters’ flashback is nothing more than an incident in which we learn that they are con artists and at which case can take place at any time prior to the US becoming The United States of Zombieland. This is a great disservice to these characters especially when all the other scenes prior already show the audience that these two women are very cunning and smart. What was needed was a scene similar to that given to the other characters which is a flashback in which defines their reaction to the zombie plague.
The second half of the film is where everything falls apart. Most great road movies are all about the journey to the location but in this film when they get there they decide to go to “BM’s” house for rest and relaxation before going to the theme part where zombies have not over run. The concept for the film about of group of people coming together to find a place where zombies have not invaded is a brilliant concept. It’s one explored by Romero himself not only in his DAWN OF THE DEAD and DAY OF THE DEAD films (among others), but neither of those are in the “road trip” style of film (although DAWN starts off that way but spends most of the film at the mall). ZOMBIELAND was born to be a road trip film and while the characters are on the road it is a great film but the emergence of the “BM” characters destroys the momentum of the film to a dead stop (pun intended). The film then becomes a drab character film which doesn’t do much for the main characters other then suggest the fanboy appeal of the filmmakers to “BM.” The scene goes on for far too long and it just drags the movie (which is surprising since the running time is only 80 minutes).
And then for no good reason the two females (who displayed more common sense then the men throughout the rest of the film) go off on their own adventure to find the theme park by themselves in the middle of the night. These two females then persist in turning on every ride and light in the building as if they were ringing a dinner bell for the zombies. This is surprising since this tactic is used not once but twice earlier in the film as a means to “call” the zombies from their hiding place. This all goes contrary to how the females have been envisioned thus far. They go from cunning and smart at the beginning of the film to making every dumb decision a person can make by the end just so that Eisenberg’s character has someone to save at the end of the film and Harrelson has a bunch of zombies to kill.
The ending of the film has many great death scenes but by having his females “de-evolve” by the end of the film it does everyone a great disservice and cheapens the film as a whole by allowing it to become nothing more than a “fun” and “entertaining” film. It’s clear that the filmmakers are fans of the horror and zombie genres with their homage to everything from Romero’s DAWN OF THE DEAD, JACK BROOKS: MONSTER SLAYER (Harrelson makes for a great Jack Brooks), SHAUN OF THE DEAD, and numerous others but what ZOMBIELAND doesn’t have that those films do is a great screenplay with smart characters that are not only fun and entertaining but great films as well. ZOMBIELAND makes no excuses for being simply an entertaining joy ride but let’s face it, it’s neither original nor the best of what the genre has to offer so we shouldn’t look at it like it is.
Many of the people whom I’m talked with about the film do not watch many zombie films nor horror films at all for that matter and many have told me that they wouldn’t have seen it if it wasn’t marketed as a comedy (kudos to the marketing department), so, in their eyes it delivers the goods and let’s face it, the majority of movie goers don’t go to watch “good” movies at the theater, they go to be entertained and if there is one thing ZOMBIELAND does do well it is to entertain despite its many flaws.
Will ZOMBIELAND be a part of my “Best Of” list? – No, it will not as there are plenty of better films out there from all over the world but will I dismiss the film in its entirety? That depends upon how good the next zomcom is which I’m sure is right around the corner (or at least the sequel to this film) and how soon this one evaporates from memory in the meantime.
It dawned on me that after I posted my comment about the film ZOMBIELAND I got a lot of backlash, so, a friend of mine (being both the writers that we are) told me that I should post a note about my opinions on the film (although now that I think about it he probably meant it as a joke).
First off, let me just say that I’m probably a bigger fan of the genre then most people as I have made it abundantly clear that I not only watch zombie films but I study them as well and unlike most audience members and friends of mine, I’ve seen zombie films from countries all over the world from New Zealand (BRAINDEAD), Australia (UNDEAD), Japan (JUNK, ONE-CHANBARA), Norway (DEAD SNO), France (OASIS OF THE ZOMBIES), Ireland (BOY EATS GIRL), UK (28 DAYS LATER, SHAUN OF THE DEAD), Italy (ZOMBIE), and countless others, so, suffice it to say that I’ve been exposed to a lot of different cultures and the way in which zombies have been portrayed over the years.
American zombie films have up until recently been relegated to only two types – those of the traditional slow moving variety and those of the fast moving, and with the exception of Georgia A. Romero (writer/director of NIGHT OF THE LIVING DEAD -1968) the slow moving have all but become extinct. Funny zombie movies have always been around (as it wasn’t until Romero’s influential NOTLD that the genre was even taken seriously) with such notable films as MY BOYFRIEND’S BACK, RETURN OF THE LIVING DEAD, DEATH BECOMES HER, NIGHT OF THE COMET, FIDO, AMERICAN ZOMBIE, and countless others.
When ZOMBIELAND was announced it was reminiscent to the successful UK film SHAUN OF THE DEAD (which coined the term “zomcom”) even though the filmmakers claimed in numerous interviews (from FANGORIA to RUE MORGUE magazine and beyond) that they were trying not to make a film in which characters throw records at zombies. The trailers for the film are actually a testament to the brilliant marketing plan for the film as it describes a fun and entertaining horror comedy. And the final result is all that and a bag a popcorn…but that’s all that it is.
I applaud the editor and the opening credits team for creating one of the best credit sequences since the one crafted for S7VEN or FIGHT CLUB but the problem is that the trailer was everything in the opening credits. That’s a little disconcerting considering it gives the impression that there will be zombie-madness and mayhem throughout the film. This is not the case.
For the first half of the film the filmmakers do a great job crafting a “road trip” film as we get to meet all the characters. The flashbacks for both the Woody Harrelson and Jessie Eisenberg’s characters do a great job in introducing how they ended up in the place that they are when the film begins but the two female characters’ flashback is nothing more than an incident in which we learn that they are con artists and at which case can take place at any time prior to the US becoming The United States of Zombieland. This is a great disservice to these characters especially when all the other scenes prior already show the audience that these two women are very cunning and smart. What was needed was a scene similar to that given to the other characters which is a flashback in which defines their reaction to the zombie plague.
The second half of the film is where everything falls apart. Most great road movies are all about the journey to the location but in this film when they get there they decide to go to “BM’s” house for rest and relaxation before going to the theme part where zombies have not over run. The concept for the film about of group of people coming together to find a place where zombies have not invaded is a brilliant concept. It’s one explored by Romero himself not only in his DAWN OF THE DEAD and DAY OF THE DEAD films (among others), but neither of those are in the “road trip” style of film (although DAWN starts off that way but spends most of the film at the mall). ZOMBIELAND was born to be a road trip film and while the characters are on the road it is a great film but the emergence of the “BM” characters destroys the momentum of the film to a dead stop (pun intended). The film then becomes a drab character film which doesn’t do much for the main characters other then suggest the fanboy appeal of the filmmakers to “BM.” The scene goes on for far too long and it just drags the movie (which is surprising since the running time is only 80 minutes).
And then for no good reason the two females (who displayed more common sense then the men throughout the rest of the film) go off on their own adventure to find the theme park by themselves in the middle of the night. These two females then persist in turning on every ride and light in the building as if they were ringing a dinner bell for the zombies. This is surprising since this tactic is used not once but twice earlier in the film as a means to “call” the zombies from their hiding place. This all goes contrary to how the females have been envisioned thus far. They go from cunning and smart at the beginning of the film to making every dumb decision a person can make by the end just so that Eisenberg’s character has someone to save at the end of the film and Harrelson has a bunch of zombies to kill.
The ending of the film has many great death scenes but by having his females “de-evolve” by the end of the film it does everyone a great disservice and cheapens the film as a whole by allowing it to become nothing more than a “fun” and “entertaining” film. It’s clear that the filmmakers are fans of the horror and zombie genres with their homage to everything from Romero’s DAWN OF THE DEAD, JACK BROOKS: MONSTER SLAYER (Harrelson makes for a great Jack Brooks), SHAUN OF THE DEAD, and numerous others but what ZOMBIELAND doesn’t have that those films do is a great screenplay with smart characters that are not only fun and entertaining but great films as well. ZOMBIELAND makes no excuses for being simply an entertaining joy ride but let’s face it, it’s neither original nor the best of what the genre has to offer so we shouldn’t look at it like it is.
Many of the people whom I’m talked with about the film do not watch many zombie films nor horror films at all for that matter and many have told me that they wouldn’t have seen it if it wasn’t marketed as a comedy (kudos to the marketing department), so, in their eyes it delivers the goods and let’s face it, the majority of movie goers don’t go to watch “good” movies at the theater, they go to be entertained and if there is one thing ZOMBIELAND does do well it is to entertain despite its many flaws.
Will ZOMBIELAND be a part of my “Best Of” list? – No, it will not as there are plenty of better films out there from all over the world but will I dismiss the film in its entirety? That depends upon how good the next zomcom is which I’m sure is right around the corner (or at least the sequel to this film) and how soon this one evaporates from memory in the meantime.
Thursday, September 3, 2009
Film Review: TRANSFORMERS: REVENGE OF THE FALLEN
Let me just first say that the first Transformers I cared nothing for. It was a film with great special effects and action scenes but that was about it. It had stupid child humor and some of the most ridiculous comedic films of any Michael Bay film and I’ve seen all of his films. This being sad, Transformers: Revenge of the Fallen is better, but still not a very good film.
I could try to explain the story and plot of the film but why bother, no one cares about that any ways. They only care about the action, which I must say is a vast improvement over the previous film. I found myself engaged in the action scenes of the film. The battle scenes were slowed down and I could actually see what was going on (I’m not one of those action film junkies that need a cut or a close up every 2 seconds). The other thing is that the main Autobot Optimus Prime actually had a story behind him (even though none of the other transformers I could care less about).
Director Bay obviously thought hard about what was needed to improve the franchise as this is by far a better film then the first (despite the over convoluted background story) and the few problems I have with this film (mainly that the transformers are still nothing more then background fodder for Shia LeBeouf’s Sam character when the film is called “Transformers” and not “Sam Witwicky & The Transformers.” I’m nitpicking here as I am a fan of the ‘80s cartoon rather then any of the modern cartoon series of which these films are modeled after, so, I can’t complain too much.
Another great thing about the film is that the special effects have come a long way since the first film as the transformations are more defined and interesting to watch whereas in the previous film they came off as a blur many times. With the rate at which Bay is improving the ways in which these films are made by the next film I should actually be able to say that I like the film.
Film Review: A PERFECT GETAWAY
After the heavy science fiction films The Arrival, Pitch Black, and The Chronicles of Riddick, writer & director David Twohy has decided to take it a little easy with his new suspense thriller A PERFECT GETAWAY. Although this film may look like another vacation in paradise that goes to hell, Twohy has decided to go a different route with his film. The structure for the film is very different from his usual film as it follows three couples on vacation in Hawaii who soon learn that a young couple just married were recently murdered and that the murders are still at large. What follows is a tense psychological journey as the couples interact with one another and soon think that the other is the murderers.
A PERFECT GETAWAY is anything but that. Twohy takes his time with allowing the audience to meet all three of the couples and how they interact with one another. His screenplay is very tight and walks a fine line of being a suspense thriller verses being a top notch mystery thriller. This is made even more apparent by the better then expected performances from the cast (which includes Steve Zahn, Timothy Olyphant, Milla Jovovich, and Kiele Sanchez, to name a few) whom all are playing against type adding to the mystery surrounding the film.
Twohy proves with this film that he is just at home with a suspense thriller as he is with science fiction and that his psychological ghost story Below wasn’t just a fluke.
Film Review: THE COLLECTOR
The is a lot that can be said from horror film which are a relentless roller coaster ride from start to finish and this new (and I hate to say this) torture porn film THE COLLECTOR (2009) is a perfect example as one. There are many people who despise this sub-genre of horror film believing it to be nothing more then an excuse to show extraneous gore and nudity. Let me be the first to say that this film, at least, has no nudity.
THE COLLECTOR is in the genre of film that includes such films as High Tension, P2, Saw, Captivity, Hostel, and countless others. It is also a very dark film about desperation. The film is about a handy man Arken (Josh Stewart), a man who struggles to pay his bills and support his family and whose estranged wife is in trouble with her loan shark. In order to pay off the debt, he decides to rob the people whose house he just finished doing work on, while they are away on vacation. Arken has some unique skills as he is a safe cracker who knows the house has a walled in safe just ripe for the picking.
That night when he believes they are gone, Arken breaks into his employers house and realizes that he isn’t alone in the house. He discovers that a deranged killer has captured the residents of the house and is holding them hostage inside a house he has booby trapped with deadly traps. Now Arken must find a way out of the house because once you enter no one leaves…and least not alive.
Written by Patrick Melton and Marcus Dunstan this film has the tone of a Saw film which isn’t surprising since they are behind the latest Saw films (Parts 4-6, with a 7 on the way) but where this film differs from those films is in the fact that the traps in the house were never intended for him as he soon learns that this killer is searching for a worthy addition to his collection of living humans. Making his directorial debut, Dunstan’s tone for the film is very similar to the ‘80s renaissance of horror films reaching the big screen (i.e. Rob Zombie’s Halloween, Friday the 13th, The Hills Have Eyes, and The Texas Chainsaw Massacre, to name a few) except that there are no stars in this film. This is a great ploy as the audience never knows who is going to die or when.
Dunstan put together a great team behind the camera as the production design of the house itself is some of the best seen in quite some time and the cinematography is ahead of most of the horror films I’ve seen this year(and I’ve seen almost all of them). This film truly is suspenseful and has a lot of moments that will have you squirming in your seats. A surprise in this film is complete lack of comedy or black humor in this film which has become customary to Melton and Dunstan’s films (which can be seen in the Saw franchise not to mention the Feast films, which got them noticed). Because of the lack of humor this film may be a little too much for some audience members but I for one welcomed a horror film that wasn’t afraid to be too serious like a lot of our foreign counterparts behind the films Inside, Frontiere(s), and Martyrs.
Be prepared and be scared of The Collector.
Sunday, August 9, 2009
Graphic Novel Review: THE DYLAN DOG CASE FILES
THE DYLAN DOG CASE FILES
Dark Horse Books collection of the Itlaian Dylan Dog comics THE DYLAN DOG CASE FILES is a great introduction for people who are not familiar with the character. In 1994 there was an Italian film based on the character starring Rupert Everett called Dellamorte Dellamore (more commonly known as Cemetery Man) which became an International success and helped Everett become a star. Created by Tiziano Sclavi (with art by Angelo Stano, Andrea Venturi, Giampiero Casertano, Luigi Piccatto, and Bruno Brindisi) Dylan Dog is a womanizer who investigates strange and unusual cases that revolve around everything from zombies, monsters, freaks, vampires, and anything else that he stumbles upon. Much like Sherlock Holmes, Dog has a knack for both getting into trouble both with and without his trusted sidekick Felix, whose even stranger then Dog and whom provides most of the comic relief in the stories provided in this collection.
At an amazing 680 pages this is a huge collection to sink your teeth into both for mystery fans and horror fans. Unlike the film version, the stories contained within this collection are more focused on dark comedy and the unusual fantasy (although the film is filled with a lot of fantasy). Anyone watching the film will see very little resemblance to the graphic novel other then in the character itself which is fine since the stories contained in this collection are more entertaining then the film (and I really like the film). Dog comes off as a poor man’s James Bond mixed with a Sherlock Holmes who cares more about women then he does about solving the next case or paying the bills. This is not to say that the material isn’t dark because the stories “Dawn of the Living Dead” and “Morgana” are particularly dark while “Johnny Freak” is tragic and heartfelt. “Zed” is another standout as it deals with an alternate world that may or may not be better then our own as. Along the way Dog discovers many different loves (hince the Bond reference) and has many brushes with the law, whom don’t take him seriously half the time.
Another great aspect of the book is the fine black & white artwork, which is a compliment to the dark nature of the stories. It’s like reading a film noire (which the tone of many of the stories border upon). This collection for the first time allows many readers to finally have access to a comic which has sold over 56 million copies worldwide and since there is a Hollywood adaptation in the works (as of this writing) what better place then here to get acquainted with this detective then right now.
Dark Horse Books collection of the Itlaian Dylan Dog comics THE DYLAN DOG CASE FILES is a great introduction for people who are not familiar with the character. In 1994 there was an Italian film based on the character starring Rupert Everett called Dellamorte Dellamore (more commonly known as Cemetery Man) which became an International success and helped Everett become a star. Created by Tiziano Sclavi (with art by Angelo Stano, Andrea Venturi, Giampiero Casertano, Luigi Piccatto, and Bruno Brindisi) Dylan Dog is a womanizer who investigates strange and unusual cases that revolve around everything from zombies, monsters, freaks, vampires, and anything else that he stumbles upon. Much like Sherlock Holmes, Dog has a knack for both getting into trouble both with and without his trusted sidekick Felix, whose even stranger then Dog and whom provides most of the comic relief in the stories provided in this collection.
At an amazing 680 pages this is a huge collection to sink your teeth into both for mystery fans and horror fans. Unlike the film version, the stories contained within this collection are more focused on dark comedy and the unusual fantasy (although the film is filled with a lot of fantasy). Anyone watching the film will see very little resemblance to the graphic novel other then in the character itself which is fine since the stories contained in this collection are more entertaining then the film (and I really like the film). Dog comes off as a poor man’s James Bond mixed with a Sherlock Holmes who cares more about women then he does about solving the next case or paying the bills. This is not to say that the material isn’t dark because the stories “Dawn of the Living Dead” and “Morgana” are particularly dark while “Johnny Freak” is tragic and heartfelt. “Zed” is another standout as it deals with an alternate world that may or may not be better then our own as. Along the way Dog discovers many different loves (hince the Bond reference) and has many brushes with the law, whom don’t take him seriously half the time.
Another great aspect of the book is the fine black & white artwork, which is a compliment to the dark nature of the stories. It’s like reading a film noire (which the tone of many of the stories border upon). This collection for the first time allows many readers to finally have access to a comic which has sold over 56 million copies worldwide and since there is a Hollywood adaptation in the works (as of this writing) what better place then here to get acquainted with this detective then right now.
Graphic Novel Review: MARVEL ZOMBIES 3
MARVEL ZOMBIES 3
The zombies of the Marvel Universe are back again but this time they have found a way into our universe and plan to take over in a very big way. I’ve written about all the previous instalments of the series, but it is here in the new story MARVEL ZOMBIES 3 that the story starts to take a new turn. Under the guidance of new writer Fred Van Lente and artist Kev Walker a small band of zombified super heroes lead by zombie-Deadpool have invaded the swamps of Citrusville, Florida prompting the military unit known as A.R.M.O.R. to send Machine Man and Jocasta to the zombies alternate home world to find a cure for the zombie plague so that the “real” Marvel Universe does not become infected by the zombie plague.
That’s generally what this new story is about. If you’ve read the previous stories in the saga you’ll know that these series have lots of violence and lots of blood. It is a zombie story after all, but unlike previous instalments more story is spent on the Machine Man story as he is a borderline drunk robot who wants nothing to do with humanity. There is lots of great action as Machine Man tears through the zombies as if they were nothing, but there in lies one of the problems of this story – Machine Man is indestructable and thus becomes an odd choice as the main character of the story. The more interesting aspect of the story revolves around Doctor Mobius (the Living Vampire) who is held captive at A.R.M.O.R. by his zombie doppleganger, who wants to secretly infect the Marvel Universe with the plague.
Much of the Zombie-Marvel Heroes carnage is absent from this story although Zombie Deadpool, Kingpin, Mobius, and Captain America, do have their moments to shine. This story just comes off lite considering everything that came before it. This and the fact that this story is just a bridging story for the next story in the series makes this a less interesting instalment on the whole, but it’s fun and crazy and good zombie-fun which should keep anyone entertained.
Although this series was lite I am looking forward to the next series as it reunites the Midnight Suns characters which haven’t been seen in quite some time and were hinted at early in this series with a guest appearance by Man-Thing (one of the Marvel Universe’s most under used characters in my opinion). This is a graphic novel that fans of the series will like but not altogether love.
The zombies of the Marvel Universe are back again but this time they have found a way into our universe and plan to take over in a very big way. I’ve written about all the previous instalments of the series, but it is here in the new story MARVEL ZOMBIES 3 that the story starts to take a new turn. Under the guidance of new writer Fred Van Lente and artist Kev Walker a small band of zombified super heroes lead by zombie-Deadpool have invaded the swamps of Citrusville, Florida prompting the military unit known as A.R.M.O.R. to send Machine Man and Jocasta to the zombies alternate home world to find a cure for the zombie plague so that the “real” Marvel Universe does not become infected by the zombie plague.
That’s generally what this new story is about. If you’ve read the previous stories in the saga you’ll know that these series have lots of violence and lots of blood. It is a zombie story after all, but unlike previous instalments more story is spent on the Machine Man story as he is a borderline drunk robot who wants nothing to do with humanity. There is lots of great action as Machine Man tears through the zombies as if they were nothing, but there in lies one of the problems of this story – Machine Man is indestructable and thus becomes an odd choice as the main character of the story. The more interesting aspect of the story revolves around Doctor Mobius (the Living Vampire) who is held captive at A.R.M.O.R. by his zombie doppleganger, who wants to secretly infect the Marvel Universe with the plague.
Much of the Zombie-Marvel Heroes carnage is absent from this story although Zombie Deadpool, Kingpin, Mobius, and Captain America, do have their moments to shine. This story just comes off lite considering everything that came before it. This and the fact that this story is just a bridging story for the next story in the series makes this a less interesting instalment on the whole, but it’s fun and crazy and good zombie-fun which should keep anyone entertained.
Although this series was lite I am looking forward to the next series as it reunites the Midnight Suns characters which haven’t been seen in quite some time and were hinted at early in this series with a guest appearance by Man-Thing (one of the Marvel Universe’s most under used characters in my opinion). This is a graphic novel that fans of the series will like but not altogether love.
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