A Few Thoughts On The Walking Dead 7.3 “The Cell” (dir by Alrick Riley)


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I’ve been on twitter, reading everyone’s reactions to the latest episode of The Walking Dead, and I’ve noticed a definite pattern.

People who read the comic along with watching the TV show seemed to be pretty excited by tonight’s episode.  They were happy that Dwight (played by Austin Amelio) and his wife, Sherry (Christine Evangelista), were prominently featured.  I mean, make no mistake.  This episode may have technically been a Daryl episode but, for the most part, it was pretty much set up to highlight Dwight and Sherry.

Of course, it was also set up to give us some insight into the way that Negan runs things.  We got to see the Sanctuary, the home base of the Saviors, and it’s not really that surprising that it turned out to be the testosterone-fueled Hellhole of everyone’s nightmares.  On the plus side, the Sanctuary has power.  It has music.  It has a TV, though there doesn’t appear to be any good programming.  Is a world where the only available entertainment features Tony Danza a world worth saving?

And Negan — well, Negan’s still an asshole.  He’s still strutting around with Lucille, bullying everyone that he comes in contact with.  Obviously, we were meant to compare Negan’s leadership style to King Ezekiel’s.  Ezekiel rules through fantasy.  Negan rules through fear.  No wonder Gordon tried to leave.

(Gordon’s execution would have been far more powerful if we had more of an idea of who Gordon was meant to be.  Then again, that scene was more about Dwight than Gordon.)

Negan is also trying to brainwash Daryl and it’s obvious that Dwight is more than a little jealous.  I liked the fact that Dwight didn’t seem to know if he wanted to kill Daryl or beg Daryl to be his best friend.  Watching Negan and Daryl, I couldn’t help but think about Merle and the Governor.  Of course, that didn’t end well as far as the Dixon family is concerned…

As I said, those who read the comic appeared to enjoy tonight’s episode.  On the other hand, viewers who weren’t familiar with the comic seemed to be a bit disappointed.  On twitter, they complained that tonight’s episode was too slow and anti-climatic.  Interestingly enough, a lot of them said the same thing about last week’s episode with King Ezekiel.

Myself, I have to say that The Cell didn’t do much for me.  Last week’s episode may have been slow but, after all the shit that went down in the premiere, I was kind of thankful for a slow episode that featured at least a little humor.  But with The Cell, The Walking Dead essentially followed one slow episode with another slow episode, the difference being that this one didn’t really accomplish much.

As I watched day-to-day life in the Sanctuary, I couldn’t help but think about Lost.  You remember when Jack, Sawyer, and Kate ended up spending a handful of episodes living with The Others?  The society of the Others was genuinely interesting.  You could actually imagine watching an alternate version of Lost where the Others would have been the main characters and the Oceanic passengers would have been the rarely seen villains.

You really can’t say the same of The Saviors and life at Sanctuary.  The Saviors may be scary and menacing and dangerous but they’re also more than a little boring.  I’ve praised Jeffrey Dean Morgan’s performance in the past but, with tonight’s episode, I started to wonder if there was anything more to Morgan’s Negan than what we’ve already seen.  Yes, Negan’s a bully.  Yes, he’s an asshole.  Yes, I’d love to see him devoured by a walker.  But I could say the same about a lot of the characters on The Walking Dead.  What is it about the television version of Negan that sets him apart from every other wannabe dictator on this show?

To a certain extent, it reminded me of when Colin Hanks showed up as a serial killer on Dexter.  I watched him and I thought, “Yeah, he’s pretty fucked up but who isn’t on this show?”  At this point, just being fucked up isn’t enough.

What the show needs is one episode — just one — where Negan isn’t bellowing and threatening everyone that he sees.  We need one episode where we can see who Negan was before the zombie apocalypse and who he is now when he’s not hiding behind Lucille.  Jeffrey Dean Morgan is a seriously talented actor and he’s capable of a lot more than just playing a one-dimensional villain.

I hope that The Walking Dead eventually gives him a chance to show everyone how true that is.

I do want to end this review on a positive note so I will say two things:

  1. This episode was directed by Alrick Riley, who previously directed several episodes of an intriguing British spy show called MI5 (a.k.a. Spooks).
  2. That scene with the walker falling out of the sky totally freaked me out!

 

 

Film Review: Volumes of Blood: Horror Stories (dir by Nathan Thomas Milliner, P.J. Starks, James Treakle, Sean Blevins, John William Holt, Jon Maynard, and Justin M. Seaman)


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You may remember that, last year, I raved about an independent horror film called Volumes of Blood!  Did you take my advice and track it down?  DID YOU!?  It’s available on Amazon and, if you haven’t seen it yet, you’re running behind because the sequel has just been released.

Volumes of Blood: Horror Stories opens with the following warning:

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That warning pretty much tells you everything that you need to know.  Full of clever references and call backs to previous horror films, Volumes of Blood: Horror Stories was made by people who love horror and it will be best appreciated by other horror lovers.  Like the first film, it earns the title Volumes of Blood because the blood never stops flowing.

Like the first film, Volumes of Blood: Horror Stories is an anthology film, telling 8 different but inter-connected stories of gore and horror.  Things start off with a nicely done little slasher parody called Murder Death Killer.  Directed by Nathan Thomas Milliner, Murder Death Killer deals with three small-time crooks who make the mistake of visiting a junkyard that’s haunted by the vengeful spirit of Atticus Crow.  Murder Death Killer is nicely directed, with Milliner exploiting that junkyard for every ounce of ominous atmosphere that it has.  One of the crooks, Mr. Dawson, is played by Thomas Dunbar, an actor who gives off a welcome Sid Haig vibe.

Murder Death Killer is followed by Haters, which is directed by the film’s producer, P.J. Starks.  Haters deals with two horror fans who, after watching a remake of Murder Death Killer (one that we’re told stars Vin Diesel and Eric Roberts), make the mistake of pissing off the wrong usher.  Haters features many references to my favorite part of the first Volumes of Blood, a fictional movie called The Dewey Deathimal System.

The atmospheric and gory Trick or Treat (directed by Sean Blevins) picks up directly where the first Volumes of Blood ended, with the town of Owensboro, Kentucky coming to terms with the massacre at the local library and the first film’s mysterious murderer continuing to seek fresh victims.  You’ll never look at candy corn the same way again.

Trick or Treat leads directly to Killer House (directed by James Treakle).  A mysterious realtor (played by Christopher Bower) leads a couple on a tour through a mysterious house.  The realtor is quite insistent on visiting the cellar but the couple wants to see the upstairs first.  However, regardless of where the tour leads, each room triggers a different story.  The highlight of Killer House is the wonderfully creepy performance of Christopher Bower.

Feeding Time (directed by John William Holt) is a nicely done little film about an insurance salesman who is desperate to make a sell on the day before Thanksgiving.  The house that he visits doesn’t appear to be occupied by anyone other than a mysterious teenage girl (Shelby Taylor Mullins, giving a memorably off-key performance) who swear that there’s a monster in her closet.

In Blood Bath (directed by Jon Maynard), a man fears that his bathtub may have eaten both his wife and his best friend.  Is the bathtub truly possessed or is the man just suffering the side effects from having forgotten to take his medicine?  Blood Bath will keep you guessing.

Fear, For Sinners Here (directed by Nathan Thomas Milliner) was my personal favorite of all the stories in Volumes of Blood: Horror Stories.  On Christmas Eve, Carol (Jessica Schroeder) sits in her living room and she wraps presents while melancholy Christmas music plays on a record player.  Carol is wrapping toys for someone name “Joey.”  She’s sad, sometimes crying and sometimes growing angry.  I don’t want to spoil too much of this story, beyond saying that it’s superbly done.  It starts as a poignant look at holiday depression but then there’s a twist and then another.  Jessica Schroeder gives a great performance.

And finally, Death Day Party (directed by Justin M. Seaman) follows a seemingly sweet elderly couple as they celebrate a birthday in a definitely less than sweet way.  Full of rude humor, Death Day Party will appeal to those with an appreciation for the morbid and macabre.

Volumes of Blood: Horror Stories ends with a dedication to Wes Craven, Angus Scrimm, Gunnar Hansen, and Herschell Gordon Lewis.  It’s an appropriate dedication because Volumes of Blood: Horror Stories is a film made by people who love horror for viewers who love horror.  Mixing humor with gore, Volumes of Blood: Horror Stories is a fun celebration of the macabre.

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Cleaning Out the DVR Pt 10: Halloween Leftovers


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Halloween has come and gone, though most people have plenty of leftovers on hand, including your Cracked Rear Viewer. Here are some treats (and a few tricks) that didn’t quite make the cut this year:

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ISLE OF THE DEAD (RKO 1945, D: Mark Robson)

Typically atmospheric Val Lewton production stars Boris Karloff as a Greek general trapped on a plague-ridden island along with a young girl (Ellen Drew) who may or may not be a vorvolaka (vampire-like spirit). This film features one of Lewton’s patented tropes, as Drew wanders through the woods alone, with the howling wind and ominous sounds of the creatures of the night. Very creepy, with another excellent Karloff performance and strong support from Lewton regulars Alan Napier, Jason Robards Sr, and Skelton Knaggs. Fun Fact: Like BEDLAM , this was inspired by a painting, Arnold Bocklin’s “Isle of the Dead”.

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THE BOWERY BOYS MEET THE MONSTERS (Allied Artists 1954, D: Edward…

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Horror on TV: The Curse of Degrassi (dir by Stefan Brogren)


Well, can you believe it?  Halloween is nearly over!  In just four more hours, it will be midnight on the West Coast and October will officially be ended and so will our annual horrorthon.  Thank you to everyone who contributed and read and commented this year!  Y’all make all the hard work more than worth it!

Well, here’s our final excursion into the world of televised horror.  Ready for it?  I’m getting a little teary-eyed.

This is a special episode of my favorite TV show of all, Degrassi!  Originally aired on October 28th, 2008, The Curse of Degrassi features Degrassi’s main mean girl, Holy J Sinclair (Charlotte Arnold), getting possessed by the vengeful spirit of deceased school shooter, Rick Murray (Ephraim Ellis).  Chaos follows!

Happy Halloween and Enjoy!

Love you!

The TSL’s Daily Horror Grindhouse: 31 (dir by Rob Zombie)


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Are you scared of clowns?  Sure, you are.  All good people fear clowns.  However, if you somehow do not find clowns to be frightening, you may change your mind after seeing Rob Zombie’s latest film, 31.

Of course, that’s assuming that you actually see 31.  31 is not a film for everyone.  In fact, if you’re not a fan of Rob Zombie or his style of horror, you should probably stay miles away from 31.  Bloody, intense, violent, and occasionally rather nihilistic, 31 is perhaps the Rob Zombiest of all the films that Rob Zombie has ever made.

However, if you’re a fan of extreme horror, you’ll appreciate 31.  It may not always be easy to take but then again, that’s kind of the point.

The film takes place in the 70s, which means that it has a really kickass soundtrack.  A group of carnival workers are driving across the desert in a van when they are attacked and kidnapped.  They find themselves in a dark building, being lectured by three people who are dressed like 18th century French aristocrats.  The leader of the aristocrats (played by Malcolm McDowell) informs them that they are going to playing a game called 31.  For the next twelve hours, they will be locked away in a maze.  They will be hunted by five murderous clowns.

Yes, you read that right.  Not just one murderous clowns — FIVE!  (Even worse, a sixth bonus clown eventually joins the game.)

If they can survive for 12 hours, they win.  What do they win?  Other than freedom, the film is never particular clear on this point.  The motives of the aristocrats remain a mystery for the majority of the film.  Are they just sadists, are they perhaps devote fans of The Purge who were so disappointed with Election Year that they decided to recreate the second film on their own, or is there some bigger reason behind this game of 31?  The film leaves the question for us to answer.

The rest of the film is a collection of progressively more violent fights between the carnival workers and the clowns.  For the most part, the carnival workers are all likable and you don’t want to see any of them harmed.  The clowns, meanwhile, are just about the freakiest collection of killers that you’ve ever seen.  When one of them is cornered, he pathetically begs, “We’re all pawns!  We don’t want to do this!” but you never quite believe him.  The deadliest of the clowns is Doom-Head (Richard Brake) and his evil smirk will give you nightmares.

31 is an incredibly intense film and it’s definitely not for the faint of heart.  Everything from the acting to the set design to the costumes to David Daniel’s stark cinematography comes together to make 31 into a harrowing horror film.  If you can’t stand Zombie’s trademark mayhem, I would suggest avoiding 31.  However, if you’re a fan of Zombie’s films, you’ll find 31 to be perhaps the purest distillation of his artistic vision.

The TSL’s Daily Horror Grindhouse: Halloween II (dir by Rob Zombie)


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The thing about praising Rob Zombie’s Halloween is that you’re then contractually obligated to talk about the 2009 sequel, Halloween II.  While I certainly don’t have any trouble defending the first film, Halloween II is about as big a mess as I’ve ever seen.

Much like the sequel to the original film, Halloween II opens with Laurie (Scout Taylor-Compton) being stalked in the hospital by her murderous older brother, Michael (Tyler Mane).  And the hospital scenes are actually pretty good.  Zombie makes good use of Nights in White Satin and the scenes of Michael chasing Laurie are genuinely suspenseful.

However, the film then jumps a year into the future and it’s all kind of annoying.  Halloween II follows three separate storylines, all of which converge at the rushed conclusion.

My favorite storyline dealt with Dr. Loomis (again played by the brilliant Malcolm McDowell).  Loomis has written a book about Michael and is now traveling the country, promoting himself as a true crime expert and dealing with people who think that he’s exploiting the whole tragedy for a quick buck.  McDowell is perfect in these scenes, playing Dr. Loomis as a pompous man who secretly knows that he’s a fraud.  “I was as much a victim as anyone,” he occasionally sputters.  Perhaps the highlight of the film comes when he’s interviewed by a rather sarcastic Chris Hardwick and finds himself being ridiculed by Weird Al Yankovic (playing himself).

The second storyline features Annie (Danielle Harris) and Laurie struggling to get on with their lives.  Laurie is now living with Annie and her father (Brad Dourif).  As opposed to the virginal Laurie of the first Halloween, this Laurie is pissed off and out of control.  On the one hand, I think Zombie deserves some credit for trying to deal with the PTSD that would obviously be the result of surviving being attacked by Michael Myers.  On the other hand, to say that Laurie is never not pissed off would be an understatement.  Scout Taylor-Compton does a good job playing her but, in Halloween II, a little Laurie Strode goes a long way.  You can only watch someone rage at the world for so long before it starts to get boring.

And the third storyline, not surprisingly, is Michael still trying to track down and kill his sister.  Michael continually sees visions of his dead mother (Sheri Moon Zombie), occasionally accompanied by a white horse, telling him, “It’s time.”  (Eventually, Laurie starts to see the same thing.)  Usually, if you come across someone online criticizing Halloween II, one of the first things that they’ll mention will be that white horse.  To be honest, the white horse didn’t both me.  I actually appreciated the surreal touch of Sheri Moon Zombie and a white horse appearing out of nowhere.  But still, as opposed to first film, Michael is just boring in this film.  The first film was memorable because it took the time to explore why Michael became who he became.  In Halloween II, Michael’s just another killer in a mask.  Leslie Vernon would have kicked his ass.

So, no, Halloween II does not really work.  The story is too messy and, with the exception of Dr. Loomis, none of the characters are particularly interesting.  I still stand by my claim that Rob Zombie is an underrated director but Halloween II is a definite misfire.

The Daily Horror Grindhouse: Halloween (dir by Rob Zombie)


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Is Rob Zombie a good filmmaker?

That’s the question that every horror fan has to ask themselves at some point.  Needless to say, Zombie has a huge following and no one can doubt his love for the genre.  And yet, despite that, it seems that Zombie’s detractors will always be as outspoken as his fans.  His fans point out that Zombie makes movies that literally feel as if they’re filmed nightmares and that, as a committed horror fan, he’s willing to go further in his quest to shock you than most mainstream filmmakers.  His detractors, meanwhile, tend to see Zombie as an excessive filmmaker who often uses an abundance of style to cover for a weak narrative.

Personally, I’m somewhere in the middle when it comes to Zombie.  I think, as a storyteller, Rob Zombie does occasionally struggle to maintain a coherent narrative but, at the same time, I think his strengths as a director ultimately overcome his weaknesses.  As a visual filmmaker, he’s a lot stronger than he’s often given credit for and I don’t think anyone would criticize the way that he uses music in his films.  He may not be the strongest director of actors but he’s got a good eye for casting and he’s given work to some of our best character actors (Sid Haig, Malcolm McDowell, Brad Dourif, William Forsythe, and the late Karen Black, just to name a few).  If his films are extremely graphic and bloody … well, that’s the current state of horror.  If anything, I would argue that Zombie deserves credit for unapologetically embracing the mantle of being a 21st century grindhouse filmmaker.

That said, Rob Zombie’s films rarely seem to be as good on a second viewing as they were during the first.  He’s one of those directors who comes at you strong that, to a certain extent, his films almost beat you into submission.  During the first viewing of one of Zombie’s films, it’s not unusual to be overwhelmed by all the style and the music and the gore and the over-the-top characterizations.  Even if you don’t like the film itself, it definitely makes an impression on you.  It’s only on repeat viewing that you might start to notice that Zombie’s narratives are often rather clumsily slapped together.  Several times, Zombie’s visual style seems to dictate the story as opposed to the other way around.

That was certainly the case with his 2007 remake of Halloween.  While the film follows the same basic plot as John Carpenter’s original, it also spent a lot more time delving into the past of Michael Myers (Daeg Faerch as a child, Tyler Mane as an adult).  It was obvious that Zombie was far more interested in Michael than in any of his victims.  (Carpenter took the exact opposite approach, developing the characters of Annie, Laurie, and Linda and allowing Michael to remain a cipher.)  As a result, the first half of the film deals with Michael and his dysfunctional childhood while only the second half features Michael escaping and returning to Haddonfield.  Laurie, Annie, and Lynda are well-played by Scout Taylor-Compton, Danielle Harris, and Kristina Klebe but ultimately, they all remain rather generic.

The first time I saw Rob Zombie’s Halloween, I thought it was one of the most disturbing films that I had ever seen.  I should clarify that I mean that in a good way.  Zombie’s Michael was truly terrifying but, at the same time, Zombie portrayed him as a kid who never had a chance.  Whereas Carpenter’s Michael started the film as a fresh-faced little boy dressed up like a clown and holding a bloody knife, Zombie’s Michael is born into a world of chaos and darkness.  With his dysfunctional childhood, it was hard not to feel that Michael never had a chance.  Feeling abandoned by both his family and, eventually, his therapist, Michael retreated into a world of pure anger and hate.  Whereas John Carpenter’s Michael rarely seemed to be angry (instead he was just relentless), Zombie’s Michael is rage personified.

Unfortunately, Zombie’s Halloween spends so much time on Michael and his mother (Sheri Moon Zombie) and Dr. Loomis (Malcolm McDowell, perfectly cast) that it doesn’t leave much time for the night he came home.  Essentially, the entirety of Carpenter’s original film is crammed into the film’s second half and, on repeat viewings, you can’t ignore how incredibly rushed it all feels.  It’s obvious that Zombie’s heart was in the first half of the film.  In the second half, he’s just going through the slasher movie motions.

Rob Zombie’s Halloween is definitely a flawed film.  John Carpenter’s original remains the superior Halloween but, to be honest, I don’t think Rob Zombie would deny that.  Zombie set out not to replace Carpenter’s Halloween but to tell a different version of the same story.  When Zombie’s Halloween works, it really works.  Flawed as it may be, Halloween proves that Rob Zombie is a talented filmmaker, albeit one with room to grow.

As for Halloween II … well, we’ll talk about that later…

The TSL’s Daily Horror Grindhouse: The Night Before Halloween (dir by Sheldon Wilson)


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‘Twas the night before Halloween

when all through the house

not a creature was stirring

except for a Bowman

whose name was Lisa Marie”

— Traditional Bowman Folk Song

And why was I stirring?

Well, first off, that’s what I tend to do.  However, on top of that, I was also stirring because I was watching SyFy’s latest original film, The Night Before Halloween.  I was excited because The Night Before Halloween was full of Degrassi actors!

For instance, Jahmil French played the nerdy but cool Dave Turner on Degrassi.  In The Night Before Halloween, he plays Kyle.  Kyle’s a teenager with a curse.  Basically, unless he can trick someone into killing another person, a supernatural creature will kill him on Halloween night.  It’s a bit like the It Follows curse, except that the curse isn’t passed on by sex.  Instead, it’s passed by fooling someone else into committing murder.  In other words, transmitting The Night Before Halloween curse is a lot less fun than transmitting the It Follows curse.

On Degrassi, Justin Kelly played Jake Martin, a handsome and lovable stoner.  In The Night Before Halloween, Justin Kelly plays Adam, who is handsome and lovable and probably likes to get high, even though we never see him do so in the film.  Adam, unfortunately, is friends with Kyle.  When Kyle tricks Adam in taking part in a prank that leads to the electrocution of Beth (Natalie Ganzhorn), Adam finds himself being pursued by the monster.  Can he and his girlfriend, Megan (Bailee Madison), survive?

On Degrassi, Alex Harrouch played Leo, the abusive boyfriend (and briefly, husband) of Alli.  In The Night Before Halloween, Harrouch plays a much more sympathetic character, Wyatt.  At first, Wyatt is likable and nerdy but then Kyle tricks him into helping to kill Beth.  Leo is the first of the friends to understand what has happened but, when he tried to inform his friends, they ignored his calls and texts.  So, as Leo puts it, he made some new friends, with names like Benny and Oxy.  Leo has had to do some terrible things to survive and he’s been left a haunted shell of his former self.

The final member of this group of friends is Lindsay.  Lindsay is played by Kiana Madeira, who does not have a Degrassi connection but still does a good job in her role.  Lindsay may start as a skeptic but soon, she’s willing to do almost anything to get rid of the curse.

Anyway, of all the It Follows-inspired films that showed up on SyFy this October, The Night Before Halloween was definitely the best.  It was well-acted and directed and the supernatural monster (which usually manifested itself as a swarm of flies) was creepy.  Best of all, the film fully embraced and explored the question of how far people would go to survive.  In The Night Before Halloween, the only way to escape the curse is to betray someone.  While you may not be surprised when the friends start to betray each other, you’ll still never guess just how far one of them is willing to go.  You may even find yourself considering just how far you would go to save your life.

The Night Before Halloween is a very well-done SyFy shocker.  Even if it didn’t have the Degrassi connection, it would still be one to track down.