After “High Tension,” “Martyrs,” and “Frontier(s)” you’d think that French cinema had cornered the market on controversial and realistic violent cinema in the past few years but directors Yannick Dahan and Benjamin Rocher have taken the zombie genre and turned it on head in the film “La Horde.”
When one of their own is killed four corrupt cops break into an abandoned tenement building searching for the gangsters responsible. Nothing goes as planned as the cops find themselves ambushed by the gangsters and just when they think they are about to lose their lives the world is thrust into chaos by a zombie outbreak which traps them in the building. Now forced into an uncomfortable partnership the cops and gangsters must learn to trust each other in order to get out of the zombie infested building alive.
This would sound like standard zombie film fodder but the screenplay is smarter than it appears as people on both sides have ulterior motives and allegiances change as their situation grows more chaotic by the minute. Also, the dead are hording the bodies of the fallen and have their own agenda.
It is not fair to simply look at this film as a simple zombie film when there is so much more going on. It’s about family and trust and being able to trust your enemies when a greater threat arises. It’s also about violence, action, and carnage as there is a lot of that in this film as well. This is a hardcore zombie film from the “28 Days Later” and “Dawn of the Dead” remake mold. Zombies run fast. Kill lots. Spread blood everywhere and caught in between are corrupt cops and gangsters who seem to have an endless supply of bullets. The only deterrent of the film is the fact that both the cops and gangsters can’t seem to get it through their thick skills that the only way to kill the zombies is through a gunshot to the head despite the fact that the very first zombie they encounter they kill by blowing off his head. There are numerous scenes in which the characters unload hundreds of bullets on a single zombie just for the sake of doing so. These scenes get old really fast. This is a small problem with the film as it makes up for it in the last thirty minutes of the film where there are more surprises than a zombie film should have. Dahan and Rocher create some truly horrifying imagery that will go down in zombie history as some of the best scenes around and the closing moments of the film are not what you are expecting (as befitting a French horror film). This is not one to be missed.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Showing posts with label zombies. Show all posts
Showing posts with label zombies. Show all posts
Wednesday, February 9, 2011
Novel Review: EATEN ALIVE! ITALIAN CANNIBAL AND ZOMBIE MOVIES by Jay Slater
I love zombie films and it seems so does Jay Slater whose book Eaten Alive! Italian Cannibal and Zombie Movies is for lovers of Italian cannibal and zombie films. Slater has put together one of the most comprehensive collection of articles on cannibal & zombie films that I’ve ever seen. Good, bad, horrible – it doesn’t matter Slater covers them all. The Italian film industry is a mixed bag because the industry always seemed to just latch on to whatever genre or fad was popular at any given time which is why the Italian cannibal and zombie genres came and went so fast.
Slater’s book touches on all the watermark films such as the Lucio Fulci zombie trilogy and “Cannibal Holocaust” and includes many co-productions such as George A. Romero’s “Dawn of the Dead” up to “Flesh for Frankenstein.” Slater organizes the book by year starting off with “War of the Zombies” (1964) and concluding with Michele Soavi’s “Dellamorte Dellamore” (1994). Although all the required viewing films are on hand it are the lesser known films that are truly worth taking a look at. Although I am very familiar with Italian zombie films many of the Italian cannibal films I’ve never seen (and thankfully for Slater’s review I won’t have to). Slater is very well versed in the genre giving each and every film not only a brief overview but adequate outlook on how they fit into the history of the genre. The Italian cannibal film was big during the ‘70s and ‘80s (which is apparent by all the entries in the genre) while their zombie films have time and time again popped up very varying degrees of popularity.
Also of interest to readers will be the interviews that Slater puts into the book of not only actors but crew members as well who recount both in loving detail (and sometimes disgust) at the filming of some of these films. Slater also brings in several guest writers to give their outlook on particular films such as Beatrice Ring, Donato Totaro, Benjamin Halligan, Kim Newman, Ramsey Campbell, to name a few. Slater has put together a very talented team that craft an otherwise unmatchable tome on the Italian film industry, at least in regards to cannibal and zombie films.
Be forewarned that this book is for die-hard fans of the genre (even though the occasional and curious fan are also welcomed) since it plays up to some of the genre’s most celebrated titles such as “The Beyond,” “Demons,” The Living Dead at Manchester Morgue,” “Dawn of the Dead,” “Zombie,” “City of the Living Dead,” Eaten Alive!” and “Voices from Beyond,” to name a few.
Slater’s book touches on all the watermark films such as the Lucio Fulci zombie trilogy and “Cannibal Holocaust” and includes many co-productions such as George A. Romero’s “Dawn of the Dead” up to “Flesh for Frankenstein.” Slater organizes the book by year starting off with “War of the Zombies” (1964) and concluding with Michele Soavi’s “Dellamorte Dellamore” (1994). Although all the required viewing films are on hand it are the lesser known films that are truly worth taking a look at. Although I am very familiar with Italian zombie films many of the Italian cannibal films I’ve never seen (and thankfully for Slater’s review I won’t have to). Slater is very well versed in the genre giving each and every film not only a brief overview but adequate outlook on how they fit into the history of the genre. The Italian cannibal film was big during the ‘70s and ‘80s (which is apparent by all the entries in the genre) while their zombie films have time and time again popped up very varying degrees of popularity.
Also of interest to readers will be the interviews that Slater puts into the book of not only actors but crew members as well who recount both in loving detail (and sometimes disgust) at the filming of some of these films. Slater also brings in several guest writers to give their outlook on particular films such as Beatrice Ring, Donato Totaro, Benjamin Halligan, Kim Newman, Ramsey Campbell, to name a few. Slater has put together a very talented team that craft an otherwise unmatchable tome on the Italian film industry, at least in regards to cannibal and zombie films.
Be forewarned that this book is for die-hard fans of the genre (even though the occasional and curious fan are also welcomed) since it plays up to some of the genre’s most celebrated titles such as “The Beyond,” “Demons,” The Living Dead at Manchester Morgue,” “Dawn of the Dead,” “Zombie,” “City of the Living Dead,” Eaten Alive!” and “Voices from Beyond,” to name a few.
Graphic Novel Review: 28 DAYS LATER: VOL. 2 – “BEND IN THE ROAD”
BOOM! Studios continues its successful run of the 28 Days Later comic book series with this latest graphic novel 28 Days Later: Vol. 2 “Bend in the Road’ which collects the issues 5-8 of the continuing misadventures of Selena, from the original film, and her new companions as they re-enter the quarantined London after the Rage Virus has turned most of the populace into blood thirsty killers.
The last volume ended with Selena and her companion’s boat being blown up by government officials when they got too close to making land. This volume actually begins with a flashback issue that explains how Selena met up with her main companions (at least the ones that don’t die in the explosion) Jimmy and Derrick (who was blinded due to the explosion), two news men with an eye on breaking one of the most controversial stories going down. They’ve gone into some of the most treacherous territories all over the world and think that there is nothing new with what is going on in London, too bad for them.
By the time we catch back up with the present Selena, Jimmy, and Derrick have fallen on desperate times as Derrick needs medicine and Jimmy is willing to do anything to save him. Despite Selena’s better judgment they continue on their journey but soon encounter survivors who have been hiding out. In order to get the medical supplies they need Selena and Jimmy leave Derrick with these survivors in order to venture into the populated and infested city. The city is not what they expected especially when they were told by the government that the infestation has been “taken care of.” They encounter a city overrun with the infected. They have to hide from the infected, get the medical supplies they need, and hope they can make it back to save Derrick, but there is more than just these minor things they have to worry about as the survivors have plans for Selena and Jimmy that may spell the end for Derrick.
Michael Alan Nelson out does himself on these issues as he writes a suspense filled story that keeps you on the edge of your seat and not knowing what will happen to our characters next. The first volume had a larger amount of characters to contend with but with only three main characters (now left alive) Nelson spends more time getting into their heads and allowing readers to get a better idea of who the characters are. Artwork is provided by Marek Oleksicki (for issue #5) and Declan Shalvey (issues #6-8) who contribute greatly to the atmosphere of the story and homage to the original film. Fans of the film will greatly appreciate the lengths by which BOOM! Studios and their people have gone to craft a worthy successor to the popular film franchise.
The last volume ended with Selena and her companion’s boat being blown up by government officials when they got too close to making land. This volume actually begins with a flashback issue that explains how Selena met up with her main companions (at least the ones that don’t die in the explosion) Jimmy and Derrick (who was blinded due to the explosion), two news men with an eye on breaking one of the most controversial stories going down. They’ve gone into some of the most treacherous territories all over the world and think that there is nothing new with what is going on in London, too bad for them.
By the time we catch back up with the present Selena, Jimmy, and Derrick have fallen on desperate times as Derrick needs medicine and Jimmy is willing to do anything to save him. Despite Selena’s better judgment they continue on their journey but soon encounter survivors who have been hiding out. In order to get the medical supplies they need Selena and Jimmy leave Derrick with these survivors in order to venture into the populated and infested city. The city is not what they expected especially when they were told by the government that the infestation has been “taken care of.” They encounter a city overrun with the infected. They have to hide from the infected, get the medical supplies they need, and hope they can make it back to save Derrick, but there is more than just these minor things they have to worry about as the survivors have plans for Selena and Jimmy that may spell the end for Derrick.
Michael Alan Nelson out does himself on these issues as he writes a suspense filled story that keeps you on the edge of your seat and not knowing what will happen to our characters next. The first volume had a larger amount of characters to contend with but with only three main characters (now left alive) Nelson spends more time getting into their heads and allowing readers to get a better idea of who the characters are. Artwork is provided by Marek Oleksicki (for issue #5) and Declan Shalvey (issues #6-8) who contribute greatly to the atmosphere of the story and homage to the original film. Fans of the film will greatly appreciate the lengths by which BOOM! Studios and their people have gone to craft a worthy successor to the popular film franchise.
Wednesday, September 8, 2010
Graphic Novel Review: ZOMBIEWORLD: CHAMPION OF THE WORMS
The zombie genre has become its own cottage industry when it comes to the comic industry so it was with great apprehension that I picked up ZOMBIEWORLD Vol. 1: CHAMPION OF THE WORMS but I did because of the talent behind the book. I’ve always been a Mike Mignola fan so I was curious on how he would approach the material and even though I am not familiar with the art of Pat McEown it was very similar to Mignola’s own.
The story does not waste time getting straight into the story as Major Damson and his group of paranormal specialists has been consulted by a museum with a new Hyperborean relic which has been causing the museum several superstitious problems. Damson believes that the museum has unwilling set into motion the resurrection of Azzul Gotha, one of the most dreaded necromancers of the Hyperborean people, who was entombed alive in a sarcophagus. Azzul Gotha wants to bring about the end of the world and appease his Worm Gods. Now Damson and his team must find the resurrected Azzul Gotha and stop him before he can raise the dead and bring about the end of the world.
Like many of Mignola’s stories this is very fast paced but unlike the successful Hellboy books this story lacks the depth and characters of those books. This story falls flat partly because the characters never become fully developed and the story lacks any real creativity or originality. There is nothing new here that hasn’t been seen or done before. Damson’s team all seem unique and interesting but very little time is spent on any of them and they come off as being very flat and at times dull.
Being a huge fan of the zombie genre I wish I could say some good things about the title but I’ll reserve that for the next Hellboy story.
The story does not waste time getting straight into the story as Major Damson and his group of paranormal specialists has been consulted by a museum with a new Hyperborean relic which has been causing the museum several superstitious problems. Damson believes that the museum has unwilling set into motion the resurrection of Azzul Gotha, one of the most dreaded necromancers of the Hyperborean people, who was entombed alive in a sarcophagus. Azzul Gotha wants to bring about the end of the world and appease his Worm Gods. Now Damson and his team must find the resurrected Azzul Gotha and stop him before he can raise the dead and bring about the end of the world.
Like many of Mignola’s stories this is very fast paced but unlike the successful Hellboy books this story lacks the depth and characters of those books. This story falls flat partly because the characters never become fully developed and the story lacks any real creativity or originality. There is nothing new here that hasn’t been seen or done before. Damson’s team all seem unique and interesting but very little time is spent on any of them and they come off as being very flat and at times dull.
Being a huge fan of the zombie genre I wish I could say some good things about the title but I’ll reserve that for the next Hellboy story.
Film Review: George A. Romero's SURVIVAL OF THE DEAD
Few directors have had as profound effect on the horror genre as writer/director George A. Romero and his contributions to the zombie genre are legendary so it is with great excitement that I can talk about his latest zombie epic is his ever expanding …Dead series Survival of the Dead. Not so much a direct sequel to the previous film Diary of the Dead but a spinoff as it features one minor character from that film and expands upon his story.
This new film follows Nicotine Crocket (Alan Van Sprang) and his fellow soldiers who have gone AWOL do to the world going to the zombies. He and his platoon are now just trying to survive in a world overrun by zombies which means stealing and looting from those who are unfortunate enough to come across their path. Their luck may have changed when they come across the possible safe refuge of Plum Island only when they get there they realize that the residents of the island have their own civil war going on. Ever since the dead began to rise from the grave the two Irish clans that populate the island the O’Flynns and the Muldoons have been killing each other. The O’Flynns wants to kill the dead no matter who it is to protect the living whereas the Muldoons wish to preserve the dead in the hopes that a cure be found and if not a cure than a means in which to get the dead to eat something other than other humans. When Crocket and his team get to the island he realizes that he is caught in the middle of a war that will have consequences on all sides.
Fans of the zombie genre may be a tad disappointed by the film as there is very little zombie massacre to be had. Instead this film is a character study between three sides of one of the most important questions in regards to what should be done if a zombie apocalypse was to ever happen. How much “humanity” do we lose when the world becomes a living hell? And can the dead be domesticated?
Romero’s film is filled with the same humor displayed is his Dawn of the Dead especially in terms of the way in which the zombies are killed. This is a highlight of the film as Romero has been a tad too serious with the last two …Dead films. This film has a lot more humor despite the social commentary that is abound in a Romero film. Fans and critics who dismissed his last film for it being too apparent with the social commentary (the film was criticized for being two transparent and repetitive) don’t have to worry about this film as Romero has a lot more fun with the material and it makes for one great entertaining ride. This film will also keep gore hounds happy as it is a Romero film and gore can be found everywhere, it just has more of a sense of humor.
Produced for an estimated $4 million (more than his previous film) it’s surprising that the film wasn’t given a wider release although it did preview a month earlier on VOD, Amazon, etc. for download which is fast becoming the norm for indie films in order to recoup costs. Considering that the popularity of zombie films have been on the rise it’s hard to imagine why this film (especially since it’s a Romero film) didn’t get a wider release. Regardless, it’s a thought provoking and entertaining zombie film that will definitely find an audience once it hits DVD.
This new film follows Nicotine Crocket (Alan Van Sprang) and his fellow soldiers who have gone AWOL do to the world going to the zombies. He and his platoon are now just trying to survive in a world overrun by zombies which means stealing and looting from those who are unfortunate enough to come across their path. Their luck may have changed when they come across the possible safe refuge of Plum Island only when they get there they realize that the residents of the island have their own civil war going on. Ever since the dead began to rise from the grave the two Irish clans that populate the island the O’Flynns and the Muldoons have been killing each other. The O’Flynns wants to kill the dead no matter who it is to protect the living whereas the Muldoons wish to preserve the dead in the hopes that a cure be found and if not a cure than a means in which to get the dead to eat something other than other humans. When Crocket and his team get to the island he realizes that he is caught in the middle of a war that will have consequences on all sides.
Fans of the zombie genre may be a tad disappointed by the film as there is very little zombie massacre to be had. Instead this film is a character study between three sides of one of the most important questions in regards to what should be done if a zombie apocalypse was to ever happen. How much “humanity” do we lose when the world becomes a living hell? And can the dead be domesticated?
Romero’s film is filled with the same humor displayed is his Dawn of the Dead especially in terms of the way in which the zombies are killed. This is a highlight of the film as Romero has been a tad too serious with the last two …Dead films. This film has a lot more humor despite the social commentary that is abound in a Romero film. Fans and critics who dismissed his last film for it being too apparent with the social commentary (the film was criticized for being two transparent and repetitive) don’t have to worry about this film as Romero has a lot more fun with the material and it makes for one great entertaining ride. This film will also keep gore hounds happy as it is a Romero film and gore can be found everywhere, it just has more of a sense of humor.
Produced for an estimated $4 million (more than his previous film) it’s surprising that the film wasn’t given a wider release although it did preview a month earlier on VOD, Amazon, etc. for download which is fast becoming the norm for indie films in order to recoup costs. Considering that the popularity of zombie films have been on the rise it’s hard to imagine why this film (especially since it’s a Romero film) didn’t get a wider release. Regardless, it’s a thought provoking and entertaining zombie film that will definitely find an audience once it hits DVD.
Saturday, May 29, 2010
10 Most Influential Zombie Films
When Cryptshow.Net creator Ron McLellen asked me to do an article of the ten most influential zombie films I was beside myself. I’m a huge admirer and follower of the genre from countries all across the world so choosing only ten films out of the hundreds available was going to be a daunting task. Which films to choose whether they are just plain excellent verses whether or not they’ve had an impact of the genre, this was going to be the hardest choice for me but I hope that the ten films I’ve chosen will suffice it for the most diehard of zombie fans, and if not, I invite criticism of all kinds.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
Saturday, May 22, 2010
Book Review: ZOMBIE HOLOCAUST: HOW THE LIVING DEAD DEVOURED POP CULTURE by David Flint
Let me just say that “I love zombie films.” Always have an always will ever since I was we little one pf the age of about thirteen and I saw Night of the Living Dead (1968) for the very first time. That film warped my fragile little mind (more because black and white films seemed scarier to me as a child than color films). So when I talk about David Flint’s book Zombie Holocaust: How the Living Dead Devoured Pop Culture it’s from the perspective of a zombie fan…first.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
Saturday, April 17, 2010
GRAPHIC NOVEL REVIEW: THE ZOMBIE SURVIVAL GUIDE: RECORDED ATTACKS by Max Brooks
Max Brooks took the horror world by storm with his breakout novel The Zombie Survival Guide: Complete Protection from the Living Dead. This novel was a “how to” on surviving a zombie apocalypse (should there ever be one). It was hugely popular not only with horror enthusiasts but with mainstream audiences as well prompting the release of his next novel World War Z: An Oral History of the Zombie War, which documented all the historical encounters that mankind has had with the living dead. What made this second novel so popular was the fact that Brooks adopted the style of having all the stories being recounted by survivors and witnesses of a zombie outbreak.
Now we come to the newest addition to the ever growing zombie world that Brooks has created with the graphic novel The Zombie Survival Guide: Recorded Attacks. This graphic novel goes through history documenting stories that may have been “in reality” zombie attacks. Stories range from 60,000 B.C. to the present day and stretch from Central Africa to Siberia to Japan and to the United States. Like in World War Z, Brooks takes the time to cover a lot of ground even in the short span of this graphic novel.
Illustrated by Ibraim Roberson the stories recounted in the graphic novel are lush and so realistic that they pop right off the page. The black & white artwork is reminiscent of an old newsreel and evokes the dread of film director George A. Romero’s original 1968 Night of the Living Dead. Little to no dialogue is spoken between the characters depicted in the stories as Brooks maintains the feeling of his previous novel by evoking the “oral” tradition of storytelling. It is as if we are being told these stories from a first hand account and Robinson’s artwork brings those oral stories to glorious life.
This is a fine achievement in both storytelling and illustration and a great compliment to Brooks’ other two works. If you’re a fan of his other novels (or just a zombie fan at heart) then you’ll love what he’s done here in the comic book medium.
Now we come to the newest addition to the ever growing zombie world that Brooks has created with the graphic novel The Zombie Survival Guide: Recorded Attacks. This graphic novel goes through history documenting stories that may have been “in reality” zombie attacks. Stories range from 60,000 B.C. to the present day and stretch from Central Africa to Siberia to Japan and to the United States. Like in World War Z, Brooks takes the time to cover a lot of ground even in the short span of this graphic novel.
Illustrated by Ibraim Roberson the stories recounted in the graphic novel are lush and so realistic that they pop right off the page. The black & white artwork is reminiscent of an old newsreel and evokes the dread of film director George A. Romero’s original 1968 Night of the Living Dead. Little to no dialogue is spoken between the characters depicted in the stories as Brooks maintains the feeling of his previous novel by evoking the “oral” tradition of storytelling. It is as if we are being told these stories from a first hand account and Robinson’s artwork brings those oral stories to glorious life.
This is a fine achievement in both storytelling and illustration and a great compliment to Brooks’ other two works. If you’re a fan of his other novels (or just a zombie fan at heart) then you’ll love what he’s done here in the comic book medium.
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.
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.
Sunday, March 15, 2009
COMIC BOOK REVIEW: NIGHT OF THE LIVING DEAD (FantaCo) #1-4 & Prequel
COMIC BOOK REVIEW: NIGHT OF THE LIVING DEAD (FantaCo) #1-4 & Prequel
I rarely ever do reviews of individual comic books but this one warrant’s it since it has yet to be gathered into a graphic novel or trade paperback form. FantaCo’s official adaptation of the original 1968 film Night of the Living Dead is a testament to how a film adaption can go so right instead of so wrong (which is the norm). Having read many comic book adaptations of films (i.e. Batman, Willow, Darkman, Arachnophobia, Star Trek 6, and the list goes on and on) very few strive to be more then the film itself. This four issue prestige format series debuted in 1991 (even though I just recently got my hands on all the issues) from writers Tim Skulan & Eric Stanway, artist Carlos Kastro (with Eric Meheu), and letterer Mary Kelleher. Based on the original screenplay by George A. Romero & John Russo this comic book adaptation is a testament to great storytelling not only through words but through pictures and art.
Anyone who has seen the original film will know that there are many instances where very little dialogue is spoken as you watch the characters go through there personal revelations of a world plunged into the darkness of the undead. The film is everything from the film (most of the dialogue is lifted straight from the film) but the film also goes to a lot of the back story of the characters that is just hinted at in the film. When Ben tells Barbara his first encounter at the diner you see the events unfold in the comic and the Prequel issue shows you everything that happens to the Tom & Judy characters and the Coopers just before they arrive at the house.
Katro’s artwork is haunting at times and perfect for the unsettling imagery of the undead killing the living and the black & white artwork is a perfect compliment to the film. Some of the images are even more haunting on the page then in the film. I was reminiscing about the great artwork from the EC Comics era and how much Katro’s work mirrors that. And for those wanting to see a little color to their horror, the four covers to the issues are rendered in contrasting color tones (although the Prequel issue is still in black & white).
This is truly a great series to have in any collection, which is why it is a shame it hasn’t been collected as yet. FantaCo also produced only (non-related) issues in this series but it is Avatar that picked up the mantel by doing sequels to the landmark film (so be on the look out for those). Great film to comic book adaptations are rarely done right so it would be in your best interest to pick up this one.
I rarely ever do reviews of individual comic books but this one warrant’s it since it has yet to be gathered into a graphic novel or trade paperback form. FantaCo’s official adaptation of the original 1968 film Night of the Living Dead is a testament to how a film adaption can go so right instead of so wrong (which is the norm). Having read many comic book adaptations of films (i.e. Batman, Willow, Darkman, Arachnophobia, Star Trek 6, and the list goes on and on) very few strive to be more then the film itself. This four issue prestige format series debuted in 1991 (even though I just recently got my hands on all the issues) from writers Tim Skulan & Eric Stanway, artist Carlos Kastro (with Eric Meheu), and letterer Mary Kelleher. Based on the original screenplay by George A. Romero & John Russo this comic book adaptation is a testament to great storytelling not only through words but through pictures and art.
Anyone who has seen the original film will know that there are many instances where very little dialogue is spoken as you watch the characters go through there personal revelations of a world plunged into the darkness of the undead. The film is everything from the film (most of the dialogue is lifted straight from the film) but the film also goes to a lot of the back story of the characters that is just hinted at in the film. When Ben tells Barbara his first encounter at the diner you see the events unfold in the comic and the Prequel issue shows you everything that happens to the Tom & Judy characters and the Coopers just before they arrive at the house.
Katro’s artwork is haunting at times and perfect for the unsettling imagery of the undead killing the living and the black & white artwork is a perfect compliment to the film. Some of the images are even more haunting on the page then in the film. I was reminiscing about the great artwork from the EC Comics era and how much Katro’s work mirrors that. And for those wanting to see a little color to their horror, the four covers to the issues are rendered in contrasting color tones (although the Prequel issue is still in black & white).
This is truly a great series to have in any collection, which is why it is a shame it hasn’t been collected as yet. FantaCo also produced only (non-related) issues in this series but it is Avatar that picked up the mantel by doing sequels to the landmark film (so be on the look out for those). Great film to comic book adaptations are rarely done right so it would be in your best interest to pick up this one.
Tuesday, February 24, 2009
Take a Shark Bite out of WATER BABY By Ross Campbell
One of the reasons why I picked up Ross Campbell’s WATER BABY is because I enjoyed reading his zombie graphic novel THE ABANDONED. Even though THE ABANDONED was more my style I decided to take a chance on his female centered coming of age drama WATER BABY as it sounded (from reading the synopsis) as a unique and different kind of story.
Brody is a surf girl with everything going for her who has a chance encounter with a shark who bites off her leg. Unable to ever surf again Brody’s life is forever changed and even her best friend Louisa who has always been by her side can not help her. When her ex-boyfriend Jake weasels his way back into her life eating her out of house and home Brody finds herself at the breaking point. Not only does she have to learn to walk with a fake leg, deal with an ex-boyfriend, but she also finds herself plagued by nightmares where she finds herself (or parts of herself) as well as her friends shark food. When she finally can’t take it any more she drags Jake and Louisa on a cross country drive to drop Jake back off at his parents house, no questions asked. It will be a long journey for all but one that will help Brody get back what she lost when the shark took her leg.
The characters in Campbell’s story are far from perfect which allows them to be all the more human as they go through their day to day problems caused by such an extraordinary event. Campbell (who also illustrates) provides lush drawings especially in terms of Brody’s nightmares (which are mostly dialogue-less in an otherwise over-talkative story). This is a far more intimate story then the one he crafted for THE ABANDONED and like all great stories there is no clear cut ending, just the hint that this is just a new beginning in the life of the characters.
Brody is a surf girl with everything going for her who has a chance encounter with a shark who bites off her leg. Unable to ever surf again Brody’s life is forever changed and even her best friend Louisa who has always been by her side can not help her. When her ex-boyfriend Jake weasels his way back into her life eating her out of house and home Brody finds herself at the breaking point. Not only does she have to learn to walk with a fake leg, deal with an ex-boyfriend, but she also finds herself plagued by nightmares where she finds herself (or parts of herself) as well as her friends shark food. When she finally can’t take it any more she drags Jake and Louisa on a cross country drive to drop Jake back off at his parents house, no questions asked. It will be a long journey for all but one that will help Brody get back what she lost when the shark took her leg.
The characters in Campbell’s story are far from perfect which allows them to be all the more human as they go through their day to day problems caused by such an extraordinary event. Campbell (who also illustrates) provides lush drawings especially in terms of Brody’s nightmares (which are mostly dialogue-less in an otherwise over-talkative story). This is a far more intimate story then the one he crafted for THE ABANDONED and like all great stories there is no clear cut ending, just the hint that this is just a new beginning in the life of the characters.
Wednesday, January 21, 2009
[REC] - A Horror Film Classic In The Making!
No horror film has gotten under audiences’ skin recently more then the Spanish film [REC] which has been taking the film festival circuit apart (pun intended) for over the last year. American studios quickly jumped on the ship with the quickie remake QUARANTINE (itself a pretty damn good film), but [REC] has a raw and unforgiving atmosphere with unknown actors (at least to American shores) that bring the scares home unlike the remake which had a cast of young & up coming actors.
If you’ve seen the American remake QUARANTINE then you already know 95% of the story as the remake played it true to the original. {REC] finds reporter Angela Vidal (Manuela Velasco) and her cameraman Pablo (Pablo Rosso) at a Barcelona firehouse covering the events that happen at a firehouse during the graveyard shift when all normal people are sleeping. In fact, the show that they are filming is called “While You Sleep.” Thinking that the night will be a bust since typically nothing really happens at a fire station at night, Angela and Pablo soon find themselves tagging along with the firemen during what should be a routine call in which an apartment complex has reported noises coming from one of the tenants’ homes.
When they arrive, police are already on the scene and are about to go in all the while Angela keeps films hoping to get something exciting for her show. Once they step into the apartment they encounter an old woman who appears to be senile and unresponsive but when she attacks one of the police officers the firemen are forced to defend themselves and all hell breaks loose. They try to get the wounded police officer out of the building but soon realize that they and all the other tenants of the building have been locked up in the building by order of the CDC and the police. It appears that they have been exposed to some type of infectious disease that spreads quickly turning people into, for lack of a better word “zombies” whose only goal is to kill. Now Angela and the uninfected tenants must band together in order to find a way out of the building before it is too late.
Filmed entirely from the POV of Pablo’s camera the film is relentless and fast paced from beginning to end and it puts you right into the action and danger of the film. Similar to THE BLAIR WITCH PROJECT and more recently CLOVERFIELD and DIARY OF THE DEAD, [REC] is a testament that good horror films only need to put the audience in the same shoes as the characters in the film to be effective. Having seen QUARANTINE before this film you’d think that I would have already been prepared for what was going to happen, but [REC] is more effective and still more terrifying simply because I was unfamiliar with any of actors in the film. One of the highlights of last year (that now only has to get an official release here in the states).
If you’ve seen the American remake QUARANTINE then you already know 95% of the story as the remake played it true to the original. {REC] finds reporter Angela Vidal (Manuela Velasco) and her cameraman Pablo (Pablo Rosso) at a Barcelona firehouse covering the events that happen at a firehouse during the graveyard shift when all normal people are sleeping. In fact, the show that they are filming is called “While You Sleep.” Thinking that the night will be a bust since typically nothing really happens at a fire station at night, Angela and Pablo soon find themselves tagging along with the firemen during what should be a routine call in which an apartment complex has reported noises coming from one of the tenants’ homes.
When they arrive, police are already on the scene and are about to go in all the while Angela keeps films hoping to get something exciting for her show. Once they step into the apartment they encounter an old woman who appears to be senile and unresponsive but when she attacks one of the police officers the firemen are forced to defend themselves and all hell breaks loose. They try to get the wounded police officer out of the building but soon realize that they and all the other tenants of the building have been locked up in the building by order of the CDC and the police. It appears that they have been exposed to some type of infectious disease that spreads quickly turning people into, for lack of a better word “zombies” whose only goal is to kill. Now Angela and the uninfected tenants must band together in order to find a way out of the building before it is too late.
Filmed entirely from the POV of Pablo’s camera the film is relentless and fast paced from beginning to end and it puts you right into the action and danger of the film. Similar to THE BLAIR WITCH PROJECT and more recently CLOVERFIELD and DIARY OF THE DEAD, [REC] is a testament that good horror films only need to put the audience in the same shoes as the characters in the film to be effective. Having seen QUARANTINE before this film you’d think that I would have already been prepared for what was going to happen, but [REC] is more effective and still more terrifying simply because I was unfamiliar with any of actors in the film. One of the highlights of last year (that now only has to get an official release here in the states).
Friday, January 16, 2009
Graphic Novel Review: MARVEL ZOMBIES: DEAD DAYS
GRAPHIC NOVEL REVIEW: MARVEL ZOMBIES: DEAD DAYS
The Marvel Universe has jumped on the band wagon in terms of how much our culture and times have made the zombie genre of horror a pop phenomena from the plethora of films (i.e. SHAUN OF THE DEAD, ZOMBIE DIARIES, 28 DAYS LATER, etc.) to animation (i.e. DEAD SPACE and RESIDENT EVIL: DEGENERATION) and now to comics (i.e. THE WALKING DEAD, WAKE THE DEAD, THE EVIL DEAD, and countless others, but it is Marvel’s alternate universe that has been over run by a zombie plague that has captured readers from all kinds.
I’ve never caught any of the Marvel Zombies series in their initial run waiting instead for the collected graphic novel. The first Marvel Zombies series was the first thing I’d read from Marvel comics in over twelve years (I hadn’t given up on the medium only become more immersed in Manga and what publishers IDW and Dark Horse where releasing) and boy did I pick the right time to come back. That first series made me an instant fan and I read the subsequent graphic novels MARVEL ZOMBIES 2 and ARMY OF DARKNESS VS. MARVEL ZOMBIES both of which made me want to know more about how this whole phenomena started. MARVEL ZOMBIES: DEAD DAYS is the collection of all the appearances of the Marvel Zombies leading up to the first MARVEL ZOMBIES stories including the prequel MARVEL ZOMBIES: DEAD DAYS (from which the collection gets it name).
In addition to the prequel DEAD DAYS this massive graphic novel collects the first story about the Marvel Zombies “Crossover” from ULTIMATE FANTASTIC FOUR #21-23, the continuation of the story ULTIMATE FANTASTIC FOUR #30-32 called “Frightful,” and the last part of this early trilogy “Good Eatin’” from BLACK PANTHER #28-30. That’s 10 big issues of Marvel Zombie goodness in one collected graphic novel. Old school Marvel readers (such as myself) may not care for the Ultimate line of Marvel titles seeing as though they are a retelling of the Marvel Universe for the newer generation. Although this was my very first experience with the Ultimate titles I wasn’t too put back as even though the Fantastic Four are a much different team now then when I was growing up the “characters” were true to whole they’ve always been which is a great testament to writer Mark Miller who wrote both “Crossover” and “Frightful.” In my opinion the story “Good Eatin’” felt like a third part in a trilogy which is big action but little story but since this story was in BLACK PANTHER this is to be expected. This can also be said of the prequel story “Dead Days,” which also works in parts but not as a whole which I presume is because writer Robert Kirkman only had the one issue to tell the story instead of several issues.
The artwork from all four stories is top notch (from pencilers Sean Phillips, Greg Land, Mitch Breitweiser, and Francis Portela) and the original covers are provided in the back of the book for those curious fans (such as myself) who wanted to know what painter Arthur Suydam concocted next. The graphic novel as a whole is a great addition to any collector’s bookshelf with stories that you will reread time and time again (I know I will).
The Marvel Universe has jumped on the band wagon in terms of how much our culture and times have made the zombie genre of horror a pop phenomena from the plethora of films (i.e. SHAUN OF THE DEAD, ZOMBIE DIARIES, 28 DAYS LATER, etc.) to animation (i.e. DEAD SPACE and RESIDENT EVIL: DEGENERATION) and now to comics (i.e. THE WALKING DEAD, WAKE THE DEAD, THE EVIL DEAD, and countless others, but it is Marvel’s alternate universe that has been over run by a zombie plague that has captured readers from all kinds.
I’ve never caught any of the Marvel Zombies series in their initial run waiting instead for the collected graphic novel. The first Marvel Zombies series was the first thing I’d read from Marvel comics in over twelve years (I hadn’t given up on the medium only become more immersed in Manga and what publishers IDW and Dark Horse where releasing) and boy did I pick the right time to come back. That first series made me an instant fan and I read the subsequent graphic novels MARVEL ZOMBIES 2 and ARMY OF DARKNESS VS. MARVEL ZOMBIES both of which made me want to know more about how this whole phenomena started. MARVEL ZOMBIES: DEAD DAYS is the collection of all the appearances of the Marvel Zombies leading up to the first MARVEL ZOMBIES stories including the prequel MARVEL ZOMBIES: DEAD DAYS (from which the collection gets it name).
In addition to the prequel DEAD DAYS this massive graphic novel collects the first story about the Marvel Zombies “Crossover” from ULTIMATE FANTASTIC FOUR #21-23, the continuation of the story ULTIMATE FANTASTIC FOUR #30-32 called “Frightful,” and the last part of this early trilogy “Good Eatin’” from BLACK PANTHER #28-30. That’s 10 big issues of Marvel Zombie goodness in one collected graphic novel. Old school Marvel readers (such as myself) may not care for the Ultimate line of Marvel titles seeing as though they are a retelling of the Marvel Universe for the newer generation. Although this was my very first experience with the Ultimate titles I wasn’t too put back as even though the Fantastic Four are a much different team now then when I was growing up the “characters” were true to whole they’ve always been which is a great testament to writer Mark Miller who wrote both “Crossover” and “Frightful.” In my opinion the story “Good Eatin’” felt like a third part in a trilogy which is big action but little story but since this story was in BLACK PANTHER this is to be expected. This can also be said of the prequel story “Dead Days,” which also works in parts but not as a whole which I presume is because writer Robert Kirkman only had the one issue to tell the story instead of several issues.
The artwork from all four stories is top notch (from pencilers Sean Phillips, Greg Land, Mitch Breitweiser, and Francis Portela) and the original covers are provided in the back of the book for those curious fans (such as myself) who wanted to know what painter Arthur Suydam concocted next. The graphic novel as a whole is a great addition to any collector’s bookshelf with stories that you will reread time and time again (I know I will).
Friday, January 9, 2009
RESIDENT EVIL: DEGENERATION - You Can't Keep A Good Zombie Down!
The RESIDENT EVIL franchise takes another giant leap forward as it reveals its first all CG feature length motion picture RESIDENT EVIL: DEGENERATION. This new film is a departure from the live action films as it follows closer to the storylines connected with the video games.
In this film Claire Redfield is coming home to Harvardville when a terrorists unleashes the T-Virus at the same airport she’s in. This all coincides with the arrival of Senator Ron Davis who is believed to be the one responsible for the catastrophe that happened at Raccoon City years earlier. In addition to the terrorist unleashing a zombie in the airport, a plane crashes into the airport full of zombies causing a mass outbreak in which Claire finds herself trapped with Senator Davis and other survivors.
When agent Leon S. Kennedy arrives at the scene his job is to save the Senator and figure out who is behind the threat. Leon is assisted by a local police agent by the name of Angela Miller, who soon discovers that it is her own brother who is behind the terrorist threats who want Senator Davis to reveal the truth about what really happened at Raccoon City, where his wife was killed.
The film starts off as a simple rescue operation but soon turns into a espionage thriller as the convoluted conspiracy gets bigger the deeper Leon and Claire dig. The story is much richer then that of the live action films and should appeal to all fans of the video game but I do miss Milla Jovovich. The CG animation is quite good in parts but at times the females are drawn a tad out of proportion but this is negligible. The set pieces are much bigger then anything they could do in a live action film (unless of course they had $100 million) which is one of the films greatest assets as both the beginning plane crash and the ending of the film are magnificent. If this is a taste of things to come for the RESIDENT EVIL franchise then they are heading in the right direction.
In this film Claire Redfield is coming home to Harvardville when a terrorists unleashes the T-Virus at the same airport she’s in. This all coincides with the arrival of Senator Ron Davis who is believed to be the one responsible for the catastrophe that happened at Raccoon City years earlier. In addition to the terrorist unleashing a zombie in the airport, a plane crashes into the airport full of zombies causing a mass outbreak in which Claire finds herself trapped with Senator Davis and other survivors.
When agent Leon S. Kennedy arrives at the scene his job is to save the Senator and figure out who is behind the threat. Leon is assisted by a local police agent by the name of Angela Miller, who soon discovers that it is her own brother who is behind the terrorist threats who want Senator Davis to reveal the truth about what really happened at Raccoon City, where his wife was killed.
The film starts off as a simple rescue operation but soon turns into a espionage thriller as the convoluted conspiracy gets bigger the deeper Leon and Claire dig. The story is much richer then that of the live action films and should appeal to all fans of the video game but I do miss Milla Jovovich. The CG animation is quite good in parts but at times the females are drawn a tad out of proportion but this is negligible. The set pieces are much bigger then anything they could do in a live action film (unless of course they had $100 million) which is one of the films greatest assets as both the beginning plane crash and the ending of the film are magnificent. If this is a taste of things to come for the RESIDENT EVIL franchise then they are heading in the right direction.
Thursday, December 18, 2008
Zombies Rule! In the new indie film AUTOMATON TRANSFUSION
There are low budget zombie films and then there is AUTOMATON TRANSFUSION. Forget about what the title actually means (since the filmmakers have already stressed that this is the first part of an ongoing franchise) and be open to the insane madness that is written & director Steven C. Miller’s love song to the zombie horror genre. Although this film has many cliché’s and is predictable from beginning to end, AUTOMATON TRANSFUSION is a guilty pleasure in the same vein as Lucio Fulci’s ZOMBIE (aka ZOMBIE 2). The story concerns a group of party hungry teenagers who find themselves in the middle of a zombie outbreak.
None of this is at all new since the genre has been of late over-stocked with zombie films of every shape and size (with no signs of it ending any time soon). Even though most of the characters are throw away it’s fun to see what Miller will throw at them next and at only a mere 75 minutes long the film is fast and furious pulling no punches which should make all horror-gore junkies happy as well as the zombie film lovers.
I for one love a good zombie film but I also recognize the fun ones as well and this film falls in the latter category. You may be at first turned off by the idea of the film but if you’re a “true” zombie film fan there is much to enjoy in this film.
One of the sad details of this first film in the franchise is that it doesn’t go into details about how the outbreak started. This is hinted at in the closing moments of the film but is left open for the impending sequel (which should be released sometime in 2009). This may put a few people off but rest assured the filmmakers have promised an expansion which will need to be exceptional if they plan on going further then the second film (which I hope they do because I’m always in the mood for a good, entertaining gore-fest!).
AUTOMATON TRANSFUSION may not be the best zombie film ever made but is one of the fun ones.
Sunday, October 26, 2008
QUARANTINE: One of the Scariest Films of the Year!
With only four major horror films being released this October (the others being SAW V, THE HAUNTING OF MOLLY HARTLEY, and SPLINTER), QUARANTINE, the America remake of the Spanish film REC, is one of the highlights of the Halloween season and one of the best remakes to come out in quite some time. Although the original REC has yet to be released here in the states (due to the fact that the studios don’t want people’s expectations of QUANTANTINE to be judged by the original film), QUARANTINE comes off as a suspenseful and altogether terrifying experience.
Angela Vidal and her cameraman Scott (Jennifer Carpenter and Steve Harris, respectfully) are doing an expose on firefighters particularly Jake and George (Jay Hernandez & Johnathon Schaech, respectfully), who reveal that most of the calls that they take are mostly as EMTs. As Jack and George reveal their seemingly uneventful lives on the job, a late night call comes in to the firehouse giving Angela and Scott the opportunity to catch the boys in action on the job. They soon arrive at an apartment complex in which several tenants have been hearing a woman screaming in her apartment. With the help of some police officers, Jack and George break in with Angela not far behind. When they try to help the screaming woman she attacks them injuring one of the cops. This attack leads to the revelation that something isn’t quite right and their fears are soon realized when they are unable to leave the building due to the fact that the police have the building quarantined off and they won’t tell the trapped inhabitants why.
One by one each of the inhabitants of the apartment complex become infected with what appears to be some sort of fast acting killer virus and emotions become even more escalated when they can’t leave and the building becomes infested with more of the infected. As time runs out and hope is no-existent, Angela and Scott must find a way to survive until help comes…if it ever does.
Like THE BLAIR WITCH PROJECT, CLOVERFIELD, and DIARY OF THE DEAD, this film is told completely from the perspective of Scott’s camera, which at times is very impressive considering how much the camera is always on the move. These types of films have been on the rise as of late and don’t seem to be waning in the slightest. Written by John and Drew Dowdle (based on the REC screenplay by Jaume Balaguero, Luis Bardejo, and Paco Plaza) and directed by John Erick Dowdle QUARANTINE is one of the best remakes in quite some time and one of the best genre films of the year mainly because it never forgets to create suspense and terror while also telling a compelling story. With so many genre films seemly going for the shock-gore moment it’s great to see a film that actually is suspenseful and terrifying. Definitely, one not to be missed.
Angela Vidal and her cameraman Scott (Jennifer Carpenter and Steve Harris, respectfully) are doing an expose on firefighters particularly Jake and George (Jay Hernandez & Johnathon Schaech, respectfully), who reveal that most of the calls that they take are mostly as EMTs. As Jack and George reveal their seemingly uneventful lives on the job, a late night call comes in to the firehouse giving Angela and Scott the opportunity to catch the boys in action on the job. They soon arrive at an apartment complex in which several tenants have been hearing a woman screaming in her apartment. With the help of some police officers, Jack and George break in with Angela not far behind. When they try to help the screaming woman she attacks them injuring one of the cops. This attack leads to the revelation that something isn’t quite right and their fears are soon realized when they are unable to leave the building due to the fact that the police have the building quarantined off and they won’t tell the trapped inhabitants why.
One by one each of the inhabitants of the apartment complex become infected with what appears to be some sort of fast acting killer virus and emotions become even more escalated when they can’t leave and the building becomes infested with more of the infected. As time runs out and hope is no-existent, Angela and Scott must find a way to survive until help comes…if it ever does.
Like THE BLAIR WITCH PROJECT, CLOVERFIELD, and DIARY OF THE DEAD, this film is told completely from the perspective of Scott’s camera, which at times is very impressive considering how much the camera is always on the move. These types of films have been on the rise as of late and don’t seem to be waning in the slightest. Written by John and Drew Dowdle (based on the REC screenplay by Jaume Balaguero, Luis Bardejo, and Paco Plaza) and directed by John Erick Dowdle QUARANTINE is one of the best remakes in quite some time and one of the best genre films of the year mainly because it never forgets to create suspense and terror while also telling a compelling story. With so many genre films seemly going for the shock-gore moment it’s great to see a film that actually is suspenseful and terrifying. Definitely, one not to be missed.
Wednesday, October 15, 2008
Graphic Novel Review: MARVEL ZOMBIES 2
I’m not one for reading anything that the comic book company Marvel has put out in almost a little over a decade but when I heard that writer Robert Kirkman had his hands in the original graphic novel I couldn’t help myself. This was the man who brought horror back to comics with his phenomenal ongoing series THE WALKING DEAD, so, if he was behind the series it couldn’t be all that bad. Point of fact is that the first MARVEL ZOMBIES series was an unquestionable success, so, who am I to be the one to say that there was no need for a second series.
MARVEL ZOMBIES 2 opens years after the first series ended in which all the superheroes of the Marvel universe became infected with a zombie plague turning them all into flesh eating zombies who practically devoured everything on Earth. After eating the Silver Surfer and Galactus, the surviving zombie-superheroes flee Earth in search of more food. In this new series the zombie-superheroes have eaten everything that they can and now set their sights on returning to Earth in order to find Reed Richards dimensional machine that will allow them passage to another world so that they can find a new world to feast upon.
When the zombie-superheroes return to Earth they have a surprise in store for them as an aged Black Panther and Forge had assembled the last of humanity in a settlement that they refuse to let go to the menace of the zombies. Things get even more complicated as a zombie-Wasp has taken up refuge with the survivors and has learned how to live in peace without letting the “hunger” of being a zombie get to her. Now it’s a fight for survival as humans battle zombies, zombies battle zombies, and everything is fair game.
Kirkman presents a compelling story where there are no easy answers or solutions to what lies next for humanity. This is a theme he’s put to great use in his THE WALKING DEAD series and works on a much bigger canvas then that series. Sean Phillips’ artwork compliments Kirkman’s story perfectly. The story is filled with great references from Marvel’s history and will be a favorite with comic book fans.
Like the first series this series steps far beyond anything that most readers of Marvel’s comics is accustomed to which makes the series that much better and now that the creators realize that they have a hit on their hands this series is left open for the impending third story in the series. I recommend this to both fans of Marvel comics and those readers who just want to read a very good story. I may not read anything else that Marvel puts out but I’ll continue to read this series as long as they continue putting them out.
MARVEL ZOMBIES 2 opens years after the first series ended in which all the superheroes of the Marvel universe became infected with a zombie plague turning them all into flesh eating zombies who practically devoured everything on Earth. After eating the Silver Surfer and Galactus, the surviving zombie-superheroes flee Earth in search of more food. In this new series the zombie-superheroes have eaten everything that they can and now set their sights on returning to Earth in order to find Reed Richards dimensional machine that will allow them passage to another world so that they can find a new world to feast upon.
When the zombie-superheroes return to Earth they have a surprise in store for them as an aged Black Panther and Forge had assembled the last of humanity in a settlement that they refuse to let go to the menace of the zombies. Things get even more complicated as a zombie-Wasp has taken up refuge with the survivors and has learned how to live in peace without letting the “hunger” of being a zombie get to her. Now it’s a fight for survival as humans battle zombies, zombies battle zombies, and everything is fair game.
Kirkman presents a compelling story where there are no easy answers or solutions to what lies next for humanity. This is a theme he’s put to great use in his THE WALKING DEAD series and works on a much bigger canvas then that series. Sean Phillips’ artwork compliments Kirkman’s story perfectly. The story is filled with great references from Marvel’s history and will be a favorite with comic book fans.
Like the first series this series steps far beyond anything that most readers of Marvel’s comics is accustomed to which makes the series that much better and now that the creators realize that they have a hit on their hands this series is left open for the impending third story in the series. I recommend this to both fans of Marvel comics and those readers who just want to read a very good story. I may not read anything else that Marvel puts out but I’ll continue to read this series as long as they continue putting them out.
Saturday, October 11, 2008
Retrospect: The Dead Pit (1989)
Having not seen this film since it was first released in 1989 I had forgotten a lot of what director Brett Leonard’s first film THE DEAD PIT was really about. Having really enjoyed Leonard’s most prestigious films THE LAWNMOWER MAN (1992) and VIRTUOSITY (1995), I decided to take a look back at memory lane at this first film of his. I probably was better off forgetting about it.
THE DEAD PIT is a straight to video horror film about a woman who has lost her memory and is sent to an insane asylum. There, she unwillingly unleashes a dead doctor from hell (his death and cover up explained in a brief prologue) who wants nothing more to kill more of his patients and unleash hell upon the earth by resurrecting all the patients he had killed when he was alive. There are subplots about how this woman, referred in the film as Jane Doe (Cheryl Lawson), lost her memory as well as other aspects of why the insane doctor was killed in the first place. All this makes for a heavily dated late ‘80s horror escapade that’s better left forgotten. There are few imaginative deaths (even for ‘80s standards) and the cinematography leaves a lot to be desired. This does look like a film from a first time filmmaker.
There is little recognition of Leonard’s talents in this film that show themselves in his subsequent films as his wrote & directed THE LAWNMOWER MAN just three years later followed by HIDEAWAY (1995), VIRTUOSITY, and the IMAX film T-REX: BACK TO THE CRETACEOUS (1998). For several years he disappeared before returning in 2005 with both the Marvel Comics adaptation of MAN-THING and the under-rated indie film FEED. Most recently he had released the latest in the ever expanding Highlander franchise – HIGHLANDER: THE SOURCE (2007).
THE DEAD PIT may have been an “indie” production but it lead to bigger productions and remains a favorite to many horror film fans. I’m just not one of them.
THE DEAD PIT is a straight to video horror film about a woman who has lost her memory and is sent to an insane asylum. There, she unwillingly unleashes a dead doctor from hell (his death and cover up explained in a brief prologue) who wants nothing more to kill more of his patients and unleash hell upon the earth by resurrecting all the patients he had killed when he was alive. There are subplots about how this woman, referred in the film as Jane Doe (Cheryl Lawson), lost her memory as well as other aspects of why the insane doctor was killed in the first place. All this makes for a heavily dated late ‘80s horror escapade that’s better left forgotten. There are few imaginative deaths (even for ‘80s standards) and the cinematography leaves a lot to be desired. This does look like a film from a first time filmmaker.
There is little recognition of Leonard’s talents in this film that show themselves in his subsequent films as his wrote & directed THE LAWNMOWER MAN just three years later followed by HIDEAWAY (1995), VIRTUOSITY, and the IMAX film T-REX: BACK TO THE CRETACEOUS (1998). For several years he disappeared before returning in 2005 with both the Marvel Comics adaptation of MAN-THING and the under-rated indie film FEED. Most recently he had released the latest in the ever expanding Highlander franchise – HIGHLANDER: THE SOURCE (2007).
THE DEAD PIT may have been an “indie” production but it lead to bigger productions and remains a favorite to many horror film fans. I’m just not one of them.
Subscribe to:
Posts (Atom)
Posts
