Here’s the Red Band Trailer for Sinister 2!


The first Sinister scared the Hell out of me when I saw it back in 2012.  And it was precisely because the Sinister was so effective that I really don’t think that it needs a sequel.  Horror sequels are never as much fun as the originals and if you doubt me, go compare the original Insidious to the films that followed.

But, regardless, Sinister is getting a sequel!  And here’s the red band trailer below.  Apparently, Ethan Hawke will not be returning.  Considering what happened to his character at the end of the first film, that’s probably for the best.

Finally! Something to look forward to! Here’s the trailer for Tales of Halloween!


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October’s such a great month!  Not only does Halloween provide the perfect excuse to get dressed up all sexy-like but the theaters are also full of horror movies!

Speaking of which, check out this trailer for the upcoming horror anthology Tales of Halloween!  It’ll be coming out on October 16th and, among the ten directors contributing: Mike Mendez, who directed the great Big Ass Spider, The Descent‘s Neil Marshall, and The Woods‘s Lucky McKee!

I can hardly wait!

Fear The Walking Dead Season 1 Trailer


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“When civilization ends…it ends fast.”

It was just a matter of time before AMC decided to mine their massive hit of a show, The Walking Dead, with spin-off to maximize it’s dominance over the tv landscape. We’ve been getting teasers leading up to San Diego Comic-Con where AMC released the first official trailer for this spin-off series titled Fear The Walking Dead.

This spin-off series will pull back time from the original series and have it set in the very beginning of the zombie outbreak which leads to the fall of civilization by the time Rick awakes from his weeks-long coma. It will also have it’s location as far and different from the backwoods and backroads of Georgia to Virginia where The Walking Dead is set. Instead this new series will have sunny Los Angeles as the setting. What better location than one of the most densely populated areas in the United States to show the first days and weeks of The Walking Dead timeline.

Unlike some who seem to be getting tired of the zombie craze of the past decade or so, I and a few others here at Through the Shattered Lens still enjoy this zombie apocalypse renaissance. Maybe it’s the inner doomsday preppers in some of us here in TSL that makes these types of shows and stories appealing.

Will Fear The Walking Dead succeed just as much as it’s older sibling? We shall find out when it premieres this August 23rd.

The Walking Dead Season 6 Trailer


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“Do you have any idea who you’re talking to?” — Rick Grimes

AMC has unveiled it’s official trailer for the 6th season of TV’s most popular show (so popular that it even beats Sunday Night Football on occasion) during it’s San Diego Comic-Con panel at Hall H.

Last we left the Grimes crew saw Rick Grimes get the go-ahead from Alexandria Safe-Zone leader Deanna Monroe to shoot wife-batterer and neck-slashing Pete in his face. It would’ve been quite a satisfying event if not for Rick’s first BFF, Morgan Jones, suddenly appearing out of the shadows to see him do the deed. This is the same Morgan who went from crazy clear to zen clear who thought all life that wasn’t undead was precious.

So, now season 6 is almost upon us fellow fans of the show and it looks like Rick is turning out to be Alexandria’s shogun with Deanna as the figurehead leader.

Will Rick’s Shane-like attitude to leading this expanded group of survivors be a blessing or be the downfall of another safe-haven for the Grimes Gang? There’s still the Wolves out there who now knows where they are. There’s also the looming shadow of the comic book’s Negan and his Saviors possibly making their appearance which could mean just one thing: WAR.

So, grab those ribs and thick-cut steaks and take a big bite and enjoy the trailer.

The Daily Grindhouse: The Lashman (dir by Cameron McCasland)


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It’s been a while since I’ve down a Daily Grindhouse review here on the Shattered Lens and shame on me for that!  Fortunately, I recently saw a film called The Lashman, a film that may have been released in 2014 but which serves as a tribute to the low-budget, wilderness slasher spectaculars that played at so many grindhouse and drive-in theaters in the 70s and 80s.  After watching the film, I knew that I had seen the perfect film with which to relaunch this feature.

The Lashman was directed by Cameron McCasland and filmed in Kentucky.  As I’ve said many times in the past, I love local horror films.  These are films that are made on location, outside of Hollywood and which often utilize local talent, both behind and in front of the camera.  Along with reminding us that no one location has a monopoly on American filmmaking talent, these locally made horror films also feel a lot more authentic than the slick, “mainstream” films coming out of Hollywood.  This is horror taking place in the real world, as opposed to on a sound stage.  “Authenticity,” that belief that what you’re watching could happen just as easily to you as it could to the people onscreen, is one of the keys of effective horror cinema.  If you can’t relate to the fear of the characters or believe that the film’s threat — no matter how outlandish — might just happen to be waiting for you in the shadows, then the film is not going to work.  Grindhouse horror films, with their rough edges and their cast of often unfamiliar faces, worked precisely because they felt authentic.

I think this especially true for slasher films.  As unfairly critically reviled as they may be, the slasher film is based on a horror that we can all relate to.  We all know that there are disturbed people out there.  We all secretly suspect that we’re more vulnerable, both mentally and physically, than we like to pretend we are.  And, as much as we like to shout back at the screen and complain about how slasher movie victims are always doing something stupid, we all know that we have no idea how we would react if we ever found ourselves in the same situation.  Most of us secretly know that we’d never survive a slasher film.  I know I wouldn’t.  I’d be the girl wandering around outside in her underwear, saying, “This isn’t funny!,” and then spraining my ankle as soon as I tried to run away.

The Lashman is a throwback to those old grindhouse slasher films, a loving homage to films that may have never been critically embraced but which remain undeniably effective.  The film’s story is simple.  Five students spend the weekend at a cabin in the woods.  Lashman, who is rumored to be the malevolent spirit of a man killed over 100 years before, shows up.  People die.

Our five students are all traditional slasher movie victims.  In fact, they share the same basic relationships as the five victims from the original Texas Chainsaw Massacre.  There’s two couples, Stacy (Stacy Dixon) and Billy (David Vaughn) and Daniel (Jeremy Jones) and Jan (Kaylee Williams) and then there’s Stacy’s awkward misfit of a brother, Bobby (Shawn C. Phillips).  (Much like poor wheelchair-bound Franklin from Texas Chainsaw, Bobby spends a lot of time complaining.)

Out of the cast, Shawn Phillips is the one who I immediately recognized because he’s appeared in several low-budget and undeniably fun horror films, with Ghost Shark being a personal favorite.  However, all five of the main cast members do a good job.  I’m jealous of the screaming abilities of Stacy Dixon and Kaylee Williams and David Vaughn made for a good “nice guy” hero.  However, special mention has to be made of Jeremy Jones.  One of the unwritten rules of the slasher genre is that one of your main victims has to be a totally obnoxious jerk and Jeremy Jones deserves a lot of credit for the total commitment that he shows to that role.

The Lashman is a film that will best be appreciated by those who know their horror movies and who can appreciate that McCasland has essentially crafted this film to be a valentine to the entire genre.  Everything about the film — from the beautifully shot opening where two anonymous teens fall victim while the moon beautifully glows down on a lake to the final chase through the woods between the Lashman and his suddenly partially undressed final prey — feels like a tribute to the classic grindhouse horror films of the past.

Finally, as I wrap up this review, allow me to share just a few more thoughts:

This film was produced by Red Headed Revolution Pictures.  As a redhead, I appreciated that.  It was also co-produced by Lee Vervoort, who was one of the directors on Volumes of Blood.

The token crazy old man character (every slasher film has one and nobody ever listens to him when he attempts to warn them) is played by an actor named Larry Underwood, who is a horror host (under the name Dr. Gangrene) and a Rondo-winning horror blogger.  (That said, I should admit that the main reason that I initially smiled when I saw his name in the credits is because I just started reading Stephen King’s The Stand.)

Director Cameron McCasland has a cameo appearance in the film and is credited as playing Handsome Bartender.

The end credits declare, “A good cast is worth repeating!”  If you’ve seen any the great Universal films from the 30s and 40s, you will immediately recognize the phrase.  When I was a kid and I would watch any of the old monster movies, I always loved seeing that “a good cast is worth repeating!”  In a weird way, it always made me feel happy for the cast.

 

The Horror of 2015: It Follows and Unfriended


2015 is shaping up to be a pretty good year for horror.  Here are my reviews of two recent horror films that have recently been getting a lot of attention, It Follows and Unfriended.

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Is It Follows really as good as everyone is saying?

That’s actually a very legitimate question.  It Follows is one of the most critically acclaimed horror films in recent years.  It’s been described as being a “game changer” and as being one of the best films of 2015 so far. But, as we all know, just because a film has been acclaimed by mainstream critics that does not necessarily make it a great film.  The mainstream is just as often wrong as its right.

So, is It Follows really that good?

It is certainly an effective film.  It’s well-made.  It’s well-acted.  Director David Robert Mitchell makes us jump a few times.  The film takes the horror cliché of “sex equals death” to its logical extreme and, as a result, it makes you think about the subtext of many of your favorite horror films.

The film deals with a college student named Jay (Maika Monroe) who has sex with her boyfriend and soon discovers that, by doing so, her boyfriend has passed on a “curse” to her.  She finds herself being stalked by a slow-moving but unstoppable entity, one that only she can see.  The only way to get rid of the entity is to have sex with someone else.

It’s never explained just what or who the entity is or why it’s so intent on killing.  And, for that, It Followsdeserves to be applauded.  Far too many horror films get bogged down in trying to explain the origin of its horror.  It Follows understand just how potent the fear of the unknown truly is and, ultimately, the sight of that shape-shifting entity – always there and always following – is scary precisely because it is so enigmatic.

At the same time, I think it’s telling that It Follows has received some of its strongest support from critics who traditionally do not care for horror films.  In fact, many of the positive reviews for It Follows have been somewhat condescending towards horror as a genre.  “Finally!” the critics seem to be saying, “An intelligent horror film!”

Of course, a true horror fan knows that intelligent horror films are not that unusual.  They also know that It Follows is hardly the first horror film to work as a metatextual commentary on the horror genre itself.  Many of the critics who are currently declaring It Follows to be the greatest horror film ever made are doing so because they don’t understand that the horror genre has been giving us great films for a while now.

It Follows is an effective and scary film, even if it is a bit too self-consciously arty at times.  It made me jump, it made me cover my eyes, and it even made me scream at one point and that – though the mainstream critics may never admit it – is really all that’s required from a good horror film.  To all of my fellow horror fans, I recommend It Follows without hesitation.  But let’s not pretend like It Follows is the first good horror film ever made, okay?

(Incidentally, an indication of the popularity of It Follows can be seen in the fact that this is the fourth review of the film to appear on this site!  Be sure to check out Leonard’s review, the Duke’s review, and the Trashfilm Guru’s review.)

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Unfriended is the best horror film of 2015 so far.

That may seem like a bold statement, considering that Unfriended – while receiving generally positive reviews – has not gotten half of the attention or acclaim that’s been given to It Follows.  As well,Unfriended is a variation on the found footage genre and, as we all know, found footage usually equals bad filmmaking.

But no matter!  Unfriended defies all our expectations.  Considering that Unfriended is basically an 83-minute screencast of a laptop, it should not be scary but it is.  Unfriended should not make you think about real-world issues but it does.  Unfriended should not work but it does.

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Unfriended opens with teenager Blaire Lilly (Shelly Henning) watching an online video of another teenage girl, Laura (Heather Sossaman), killing herself.  Blaire then clicks on a link that takes her to a YouTube video of a drunk Laura at a party.  Underneath the video are thousands comments from people telling Laura that she should kill herself.

However, Laura and her suicide are temporarily forgotten while Blaire skypes with her boyfriend Mitch (Moses Jacob Storm).  After a few minutes, Blaire and Mitch are joined by three friends: Jess (Renee Olstead), unstable Adam (Will Peltz), and Ken (Jacob Wyscoski).  It takes the five of them a few minutes to notice that they’ve been joined by a faceless account named billie227.

At first billie227 refuses to identity itself but soon, Blaire and Mitch start to receive Facebook messages from the long dead Laura.  Blaire checks billie227’s account and discovers that it belongs to Laura.  At first, Blaire suspects that another one of their friends, Val (Courtney Halverson), may have hacked Laura’s account.  But, after calling Val, they discover that she’s not responsible.

Suddenly, embarrassing pictures start to appear on their Facebook accounts.  Billie227 starts to send them threatening messages and tells Blaire that if she signs off of skype, all of her friends will die. The six friends – all of whom, it turns out, knew Laura – find themselves held hostage by the malevolent spirit and, over the course of the long night, are picked off one by one.

Sad to say, cyberbullying is a reality.  Tragically, people really have committed suicide over things that have been said by bullies hiding behind anonymous online identities.  In the past few years, there have been many films made about the dangers of cyberbullying but Unfriended may be the most effective.  It’s a film that takes the reality of words having consequences to its most logical and grisly extreme.

Unfriended is a genuinely frightening movie, precisely because it is so relatable.  Let’s face it – if an evil spirit ever decided to stalk us through social media, we would all be doomed.  Like the characters in the film, we’re addicted and, as a result, there’s no place to hide.  If an evil ghost wanted to know everything about my life, all it would have to do would be to follow me on twitter or send me a friend request on Facebook.  The film is scary precisely because it brings our age-old fears together with modern technology and it suggests that, no matter how advanced we may consider ourselves to be, we’re still just as vulnerable to all of the old superstitions.

As a result, Unfriended is not only the best horror film of 2015 so far but it’s also one of the best films of the first half of the year.

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Review: The Walking Dead S5E16 “Conquer”


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“Simply put, there is a vast ocean of shit that you people don’t know shit about.” — Sgt. Abraham Ford

[spoilers within]

The Walking Dead has been derided as badly-written (early seasons definitely had it’s story issues) with recycled themes and subplots with characters that barely rise above one-dimensional. Only the most ardent fan would take those criticisms of the show and dismiss them outright. The series has had it’s many flaws and the three mentioned have been ones earned through the show’s first three seasons of revolving door showrunners.

There was the show’s original creator, Frank Darabont, who injected a cinematic quality to a tv show that could easily have gone campy (Z Nation), but whose need to control every aspect of the show made him lose the support of the very studio that helped him get the show up and running. It didn’t help that his first half of season 2 where the group searched endlessly for Sophia almost sunk the show.

With Darabont given his walking papers the show turned to series writer and producer Glen Mazzara to right the ship after a listless first half of season 2. Things definitely turned for the better with Mazzara in charge and for the first half of season 3 it looked like Mazzara might have finally figured out what sort of show The Walking Dead should be. In the end, he too ran out of steam as season 3 limped into an underwhelming season finale.

Scott M. Gimple took the reins and things for the show has been improving at a steady rate since season 4 and finally culminates in a season 5 finale that was both full of suspense, action and melodrama in equal amounts that has been the mark of his current tenure as series showrunner. If the show has an award for series MVP it should be handed gladly over to Scott M. Gimple.

“Conquer” starts with a cold opening that already signals that great things are afoot for the rest of the season finale’s extended 90-minutes. We find Morgan asleep (quite peacefully) inside a derelict car in the middle of the woods. We see him wake up and go about what’s probably a daily ritual for him when his breakfast gets interrupted by a stranger who happens to be sporting a “W” mark on his forehead (with dirt instead of carved into). He’s the first person we meet who seems to be affiliated with the very Wolves this second half of the season has been working up as the next Big Bad to threaten Rick and his people. It’s a sequence that gives us a clue as to the sort of bad guys these “Wolves” are going to be for Rick and Company. With some fancy staff fighting and a zen quality to his actions, Morgan more than holds off the two “Wolves” looking to steal his gear and add them to their collection of “W” marked zombies.

The rest of the episode takes on three different storylines involving Rick, Father Gabriel and Glenn.

With Glenn we see him follow Nicholas seen climbing over the walls of Alexandria. While not the most smart thing he has done of late, Glenn has a right to be suspicious of Nicholas who has done nothing but get people (both his own and Rick’s) killed while pumping himself out to be a strong protector when Glenn and the audience know that he’s far from it. It’s a sort of chase sequence as Glenn and Nicholas end up going at it mano-y-mano with Nicholas starting it off with a failed ambush that only wounds Glenn, but does hurt him enough that at times during the episode there was a great chance it was going to be him that would be the significant death to mark the season finale.

The writers (Scott M. Gimple and Seth Hoffman) don’t do the obvious and kill Glenn off, but does make him teeter on the brink of doing what many in the audience hope would happen and that was kill Nicholas once he finally had him beaten down. Instead, Glenn shows that despite his extended time out in the savage wilds outside the walls of Alexandria, he still has some compassion (misguided it might well turn out to be) and the need to see justice done. While Glenn might not have died in this finale his growing role as the voice of reason and compassion in a group that’s become fractured emotionally and mentally means his days on the series could very well be numbered.

Father Gabriel was the more frustrating segment of tonight’s finale. His time with the group has found him to be both naively stupid of the new world around him and mentally unstable because of what he had to do to survive. Yet, we find him talking a walk outside the walls in a bright, clean white shirt like he has cleansed himself prior to make sure he dies with a clean conscience. Instead, the instance a zombie was about to do what he seems to want he finally decides to want to live. But then does another 180 degrees and decides to leave the compound’s gate unsecured knowing it means zombies will definitely wander in.

The writers don’t seem to know what to do with Father Gabriel. From the moment he was introduced they seem to be flailing in the dark with so many ideas on how to treat an unstable man whose faith has been shattered by this new world where the dead don’t remain dead and those who survive must turn to their darker instincts (him included). One moment he’s trying to poison the minds of Deanna about Rick and his people while not confessing to the dark deeds he has done. Next he’s trying to atone for those very sins only to turn around and do something that would add more sins to his ledger.

It’s a shame that Father Gabriel has become such an albatross this season for the show since Seth Gilliam is such a great actor (as his time on HBO’s The Wire has shown). There’s still a glimmer of hope for the fallen priest as we saw when Maggie arrives just in time to keep Sasha from killing Father Gabriel. Will Maggie’s own Hershel-like act of mercy be enough to finally turn Father Gabriel towards something more concrete (whether as a good guy or a bad guy) would have to wait for season 6 this coming October.

We finally come to Rick who is in a sort of timeout after his total breakdown in the previous episode. He finally understands that he might have gone a bit Shane-like and overboard with his behavior, but he also still believes that Alexandria’s best chance of surviving beyond the luck they’ve had before their arrival was for them to stay and takeover. Whether they take over by the examples of their words and deeds or through force if the Alexandrians try to kick them out would depend on the very people who don’t seem to understand what’s truly at stake.

Rick gets a sort of visit from all the differing voices within his group. There’s Glenn and Michonne who wonder if Rick never wanted for their stay in Alexandria to work. Then there’s Carol and, to a certain extent Abraham, who has seen enough of how Alexandria operates to know that these people are like children who have had the luxury of never having been confronted with a no-win situation to wake them up from their fantasy of trying to rebuild civilization. It’s the sort of angel and devil on the shoulder bit that could’ve gone terribly cheesy, but ended up being natural and poignant to the episode’s narrative. A narrative that showed how both Rick and Deanna have been both wrong and right in their stances of how Alexandria should be led.

It would take a death to someone Deanna holds dear for her to finally understand what Rick and his people have bee trying to tell her and the rest of the Alexandrians. Abraham (who has become the show’s go-to-guy for memorable one-liners) said it best himself during the night meeting to decide Rick’s fate. In the only way Abraham knows how he says, “Simply put, there is a vast ocean of shit that you people don’t know shit about.”

In the end, Abraham was correct in that the Alexandrians just do not understand the world they’re living in. They might have the strong walls (not so strong that people can’t climb over them) to keep the zombies out. They have power and running water and some luxuries of the life long past dead. Yet, they’re naive and delusional to think that they won’t have to get their hands dirty to keep their way of life going. These people need people like Rick Grimes and his band of survivors. They might not be the best examples of how society and civilization was before the zombie apocalypse fell on everyone, but they were the ones who best adapted to it and still kept a semblance of their humanity in some way.

So, season 5 ended with not just Rick using a brand of reasoning and a recent example of how things could easily go from good to bad to make his point, but with Daryl and Aaron bringing Morgan back to Alexandria for a reunion between the first two characters we met on this show. Last time we saw Rick and Morgan together was in season 3’s “Clear” and Morgan was definitely not in his right mind while Rick was still holding onto his pre-apocalypse principles. with their latest reunion it looks like things have reversed with Rick looking more and more like the Morgan of “Clear” while Morgan has recovered from his crisis of conscience to come out the other side clear of mind.

We already know that there will be a season 6 and a season after that (AMC knows a goldmine when they see it and this show is literally printing them cash). The questions left unanswered by tonight’s finale looks to be the driving force for the next season. The Wolves now have an idea that Alexandria exists (from the knapsack full of pictures Aaron dropped at the canned food warehouse depot) and will probably try to visit them soon. Then there’s the question of how will Glenn finally expose Nicholas’ cowardice and duplicity to the Alexandrians and whether Nicholas will remain a problem for Glenn moving forward. The biggest question remains on whether these Wolves will involve Negan of the comics in some capacity or just the tip of a bigger danger.

The season closes with a very appropriate scene before fading to black. A car in the canned food depot marked in stark white spray paint with the words: “Wolves Not Far.”

Notes

  • Tonight’s season finale was directed by series exec. producer Greg Nicotero and written by showrunner Scott M. Gimple and series writer Seth Hoffman.
  • The Wolves seem to be a new group made just for the show. They don’t seem to correspond to any past group that the comic book has had Rick encounter and/or fight against.
  • The trailers trap full of zombies with the “W” marks on their foreheads was reminiscent of a similar scene and trap from Resident Evil: Extinction.
  • Aaron had his own moment during the escape out of the car that was straight out of the original Dawn of the Dead. machetezombie
  • Kill of the season has to be when Daryl took the chain, whipped it around his head to take the top of the heads of three zombies with precision. that’s kill of the week stuff that even Zombieland would be proud of.
  • When Father Gabriel fails to secure the main gate and then his subsequent behavior and confession to Maggie at the chapel was also reminiscent of a character from a George A. Romero zombie film: Day of The Dead. When Pvt. Salazar decides to commit suicide by letting in zombies into the secured compound.
  • Lennie James was trained to use a walking/fighting stick by the original Donatello from the first Teenage Mutant Ninja Turtles.
  • The scene at the meeting where Pete accidentally kills Reg and the aftermath was straight out of the comic book frame for frame.
  • Talking Dead guests tonight are Morgan, Carol and Daryl (Lennie James, Melissa McBride and Norman Reedus) from The Walking Dead.

Season 5

‘It Follows’ Review (dir. David Robert Mitchell)


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**Leonard Wilson posted a great review of the film earlier this week, so read that as well!**

‘It Follows’ – which rocks a 70’s vibe and kickin’ score – earns high marks and much admiration in my book for taking an atmosphere that has been done before – and adding enough craftsmanship and creativity – to make it feel fresh, terrifying and surprisingly meaningful.

I am hesitant to go into much detail about the film’s premise. Not because of potential spoilers – this review may contain some so be warned – but because it might come off as too gimmicky to possibly result in the praise that follows. All I can say is trust me…it isn’t.

The film stars Maika Monroe (from the kick-ass 2014 gem ‘The Guest’) as Jay – a girl on the cusp of adulthood. She spends her days lounging in her pool or hanging with her friends – all of which are experiencing the boredom that encompasses those late stages of adolescence. To the disappointment of Paul, one of her male friends who has a crush on her, Jay has recently started dating an older boy named Hugh. He seems nice enough – but an incident at a movie theater hints at something very wrong with him. Jay doesn’t think much of it and on their next date they sleep together. It is a rather uneventful moment – but what comes next leaves everyone shaken and changed. Hugh drugs her – and she wakes up tied to a wheelchair in a rundown building. Hugh doesn’t intend to kill her – instead he wants to force her to see what she will be up against. As he explains – she will now be hunted by a supernatural creature that is part of a curse passed on through intercourse. “It” is slow – only ever being able to walk to its victim – but it never gives up. Anyone afflicted can see this entity – but it is only able to kill the last one to receive the affliction – and will then move down the chain of people who have had it. This leaves Jay stuck having to outrun this persistent and frightening being – all the while she must decide whether to “pass it on” to someone else. Luckily she isn’t alone, and with the help of her friends she tries to find out if this thing can be stopped.

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The emotion and fear here is earned – which is all I ask for in these films – though it also exceeded my expectations on all fronts. It did what many of my all time favorite horror films have done – like ‘Halloween’, ‘Black Christmas’ and ‘Repulsion’ it contains a slow building level of suspense and dread. A constant feeling of unease even at its calmest moments. It is the sort of horror that leaves you on the edge of your seat – not in anticipation of the next jump scare – but because you can’t help but frantically search each frame – from corner to corner – to see what or who may be lurking; and it is impossible to trust anyone. On top of that is a fine level of craftsmanship by director David Robert Mitchell on display. The camera brilliantly acting like a jittery onlooker – often spinning and scanning the horizon. This is made all the more heart pounding by the remarkable and kinetic score by Rich Vreeland. As the pressure and suspense builds, so does the score – and it is all released in incredibly effective bursts throughout.

But no matter how effectively scary it is, perhaps what I appreciated most was that like ‘The Babadook’ last year – if you strip away all the supernatural horror aspects – at the very core is still an emotional and layered story worth telling. In ‘The Babadook’ it was a mother dealing with a troubled child and the death of her husband – and with ‘It Follows’ we get a genuine coming of age tale about sex, responsibility and the fears that comes with impending adulthood.

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What do I mean by that last bit? For me the ‘It’ wasn’t just some evil monster – but can be seen as a manifestation of the mundanity and uncertainty of the possible future in store for these teens. Some may view the film as being about the consequences of sex. But I never saw it like that. Yes, sex is the catalyst of the curse, but the film never viewed the actual act in a negative light. You are not supposed to walk out thinking “Well I am never having sex again!”

It is just another part of growing up. It is the “growing up” part that really matters. It’s something that often sneaks up on you – but once you pass a certain moment in your life you are forever followed by a sense of responsibility that never leaves. These feels are reflected by Hugh who mentions how he wants to be a child with no worries and a whole new life ahead of him – or by Jay explaining how when she was young the world seemed so open and free; but once she actually grew up she realized there really wasn’t anywhere to go.

I think it is no coincidence that these characters live in Detroit – a broken down city whose future is unknown. They even live with broken parents unhappy with their own lives – Jay’s mother drinks heavily. One can only imagine that these things weigh heavily on them, whether we see that directly or not. Is it any surprise that “It” often takes on the form of those that love and care for them, or are people who are gone that they miss? These are all themes that run through most coming of age stories. That weight, those worries, are what are truly haunting these people. This makes the last scene all the more brilliant and effective for me. Like ‘The Babadook’ there is this idea that these sorts of worries, emotions and struggles don’t just fade away. You can’t just get rid of them and you cannot just run away and hide. But by facing them head on and together with those you love, they can at least be managed. I found it to actually be quite a hopeful way to end. But that’s just my take. The film never tries to shove such a specific meaning down the viewer’s throat. I think there is just enough ambiguity to allow the viewer to find their own – and it is layered enough to require multiple viewings.

At the end of the day I think this is surely worthy of being deemed an instant classic. One that can stand the test of time. Not just because of how effectively scary it is – but also because it deals with themes that can be appreciated from generation to generation. That, along with just how damn well made it is, makes it the best film I have seen so far this year – and a must see by everyone.

Review: The Walking Dead S5E15 “Try”


TheWalkingDeadS5E15

“It’s their world, we’re just living in it.” — Enid

[spoilers within]

Tonight’s episode of The Walking Dead marks the penultimate one for the show’s fifth season. It has been a season that’s seen the series remain on a consistent high. It still had some episodes which fell a bit flat, but overall season 5 has been the show’s best and delivered on showrunner Scott M. Gimple’s promise to keep the story moving forward.

The episode begins with a cold opening that shows the aftermath of the deadly supply run to the solar factory warehouse in the previous episode. We have to stories being told. There’s Glenn still haunted by having to witness Noah’s death by zombies very up close and personal. We see him tell Rick about how he and the others made a mistake and how it led to the deaths of Aidan and Noah. He feels responsible and hopes that it doesn’t ruin their chance in making the Alexandria experiment work. He still believes in the concept that is the ASZ (Alexandria Safe-Zone) and even Noah’s death doesn’t budge him from that belief. Rick, on the other hand, only sees danger and trouble when it comes to the ineptitude of the Alexandrians. His fears and doubts about whether the Alexandrians can pull their weight when it comes to keeping everyone safe has been confirmed.

Deanna, on the other hand, hears a different tale from Nicholas. It’s a tale of how it was he who tried to save Aidan and not leave him behind. It was Glenn who distracted and caused the death of Aidan and whose bloodthirsty attitude got Noah killed. Nicholas spoke about how he would never leave Aidan, his friend, behind and even included newcomer Tara as someone he tried to save. There’s some hints that Deanna has a sense that Nicholas wasn’t telling her the truth of what happened, but we don’t get to hear her voice out these doubts.

“Try” is a very appropriate title for tonight’s episode. We see several characters attempt to try and find a way to make the combination of Rick’s people and the Alexandrians co-exists together peacefully. Glenn, despite what some of these Alexandrians have done, still believes that they need to make Alexandria work. It’s their last chance to go beyond just existing and surviving but actually living life. He’s become the show’s moral compass (hopefully not a death sentence) now that Hershel and Tyreese are gone. Yet, unlike the previous moral compasses in the show, Glenn does understand that sometimes pragmatism must rule the day above all else. He just believes that Alexandria needs a chance to survive the growing pains of their group’s arrival.

Another of Rick’s people trying to make it work is Michonne. She’s had her time in exile in the wilds of this new and dangerous world. Her survival to this point has been in part due to those solitary months on her own with only herself to keep safe. Yet, she has also found out that being alone was a detriment to her psyche’s well-being and finding Rick and his people was what ultimately saved her not just from the zombies but from her own self-destructive ways.

She sees what’s happening with Sasha. A friend and fellow survivor deep in the midst of PTSD who has lost so much in such a short period of time that she hasn’t had the chance to take in and accept those losses let alone mourn them. Michonne understands what Sasha is going through but also realizes that they need her for what’s to come. Michonne wants to make Alexandria work and instability brought on by Sasha’s death wish and Rick’s inability to trust the Alexandrians will only make that prospect harder to achieve.

It is no surprise that the episode ends with Michonne taking control of a situation brought on by Rick’s blunt force behavior in trying to convince the Alexandrians that the way they were doing things were not going to work going forward. Michonne’s belief in the Alexandrians’ survival skills might mirror Rick’s own thoughts on the matter, but where Rick wants a confrontation to be the catalyst of change she seems more than willing to lead by example.

On the other side of things are Rick and Deanna looking to be at loggerheads about what’s truly best of Alexandria. It’s easy to take Rick’s side that the way Deanna and the rest of the Alexandrians have been doing things were just not going to cut it in this new world. It’s a world that Rick and his people have experienced first-hand and lost people along the way, but in the end have survived all it has thrown at them. Deanna, on the other hand, still believes in the rule of law and order, civilization over anarchy. She doesn’t believe in killing those who could be a danger to the ASZ (like Peter who also happens to be the lone physician and surgeon), but instead would rather exile them out into the wilds.

It’s a way of doing things that Rick sees as another way of putting the ASZ in danger. Deanna doesn’t think so and this clashing of philosophies on how things should be done looks to be one that’s heading into a confrontation that puts everyone in danger. Neither side seem willing to try and compromise and find a way to make the two groups con-exist. No attempt to allow the Alexandrians to learn from what Rick and his people could teach them to be better survivors. No attempt from Rick and those who believe him to adjust to this new life. A life that they see as a danger in itself. They see Alexandria’s walls as something that could make them soft and distract them from surviving.

So, we have the extended season finale next week and the question of whether Rick is too far gone to stay in Alexandria will be one of the questions that need answering. Will the group have to suffer through another loss of one of their own for the Alexandrians to finally realize that their survival before Rick and his people arrived have been through blind luck not through the civilizing rule of Deanna? Will Rick and the others just leave Alexandria or will the group finally splinter-off from those wanting to try and make it work and those unable to?

Then there are those zombies with the “W” cut into their foreheads looking to crash the party.

Notes

  • Tonight’s episode of The Walking Dead, “Try”, was directed by Michael E. Satrazemis and written by series veteran Angela Kang.
  • “Keep walking” has become Rick’s version of Carol’s “look at the flowers”. Pete should’ve been sprinting away the moment Rick uttered those wordsa at him with those Rick dead-eyes.
  • Nine Inch Nails’ “Somewhat Damaged” plays during the episodes cold opening and was a nice reminder that both groupsm Rick’s and the Alexandrians, have been damaged in some fashion since the start of the zombie apocalypse.
  • Still wondering how Nicholas knew about the Glock Rick hid in the blender out in the woods (Nicholas was in the ASZ when Rick and the group arrived). Is there someone outside the walls that told Nicholas of the hidden pistol?
  • Talking Dead guests tonight are Yvette Nicole Brown (Community), series executive producer Gale Anne Hurd and Chandler Riggs (Carl Grimes of The Walking Dead)

Season 5

 

Review: The Walking Dead S5E14 “Spend”


TheWalkingDeadS5E14

“We know what we’re doing. It’s why you wanted us here.” — Maggie Greene

[spoilers within]

Tonight’s episode of The Walking Dead was shaping up to be a sort of throwaway one. The series seems to have several of these each year. They’re episode that seem to just rehash past themes and ideas to help table set the season finale. Some of them have been good stand-alone ones while other have been some of the series’ low points. One couldn’t fault the writers to come up with another one. It’s become an almost ritual for the show to have low points in the series before peaking once again for the last two episodes of the season.

“Spend” wasn’t a throwaway episode and definitely not one of this season’s low points.

Let’s just start things by saying that tonight’s episode was directed by Jennifer Lynch (daughter of filmmaker David Lynch) and her fine touch with the darker aspects of show’s genre roots showed. It was definitely one of the darker episodes of the series to date. Right from the cold opening of the episode as we watch Father Gabriel having a moment of crisis as he steps into the chapel once again we get a feeling that this episode will not be happy one for everyone.

We get three particular storylines throughout the episode which at times made for some jarring scene changes. The main one focused on Glenn taking Tara, Eugene, Noah, Aiden and Nicholas on a supply run to help fix the ASZ’s (Alexandria Safe Zone) power grid of solar panels. One could be forgiven for thinking that the episode was going to be a ho-hum one as we get some major time with Eugene who wasn’t very happy being dragged along on this supply run outside of the ASZ’s walls. He admits more than once and of his own free will that he’s a coward through and through. Yet, by episode’s end we Eugene go through a harrowing crucible to find the courage that allowed him to survive this long. His own intellect and logic were major factors in him always picking the right group to stick with for the best chance of survival, but when he needed to finally step up and be more combat-inclined he passed with flying colors.

This was in contrast to what we’re starting to see with the Alexandrians as a whole. While not all cowardly, the people who have been living within the relatively safe confines of the ASZ’s walls have shown that they’re willing to abandon friends to the zombies if it meant saving their own life. We see this happen several times with tonight’s episode and in a couple of them we see the devastating result of the Alexandrians’ modus operandi.

This doesn’t sit well with Glenn who has grown from being the quiet, scout we met in the first season to a leader who still exhibits a sense of compassion in addition to the brutal, cold logic needed to survive in this zombie apocalypse. He sees the weak core underneath the smiling and civilized facade of the Alexandrians, but he also understand that in order for him, Maggie and the rest of his group to have a life beyond just mere day-to-day survival he needed to make sure that the ASZ and it’s people learned how to do things the right way.

Despite the violent altercation that he and Aiden (Deanna’s son) had just a couple episodes back, the two seem to be working towards a compromise in how things were to be done. But this being The Walking Dead, the prospect of Aiden learning from Glenn or any of the newcomers to the ASZ was cut short as his inexperience with the world outside of the ASZ’s walls led to his gruesome death (a situation brought on by Aiden’s own stupidity as he accidentally shot a grenade). A death that Glenn and Noah tried to prevent but just ran out of time.

The same thing happens just minutes later as we see Glenn, Noah and Nicholas (who left Aiden to die and as he admitted did to others as well in the past) finding themselves trapped in separate sections of a revolving door with zombies in the other side waiting for the inevitable. I’m one could see where this was heading with Nicholas abandoning the Glenn and Noah to save his own skin…again. Noah would end up drawing the short straw in tonight’s episode. A straw that saw him die even more horribly than Aiden and with Glenn just a few feet away witnessing the whole gory tableau.

We see, in a smaller scale, the same situation happen with Abraham as he joins the construction crew tasked with gathering the supplies to help strengthen and expand the walls of the ASZ. Once again it’s due to the inattention of the groups leader, Tobin, that the Alexandrian’s allow a sizable group of zombies to get close to them. It doesn’t help that Tobin himself ends up shooting the hydraulics on the lifter end of a bulldozer that dumps one of his own people in the middle of an encroaching group of zombies. He and the rest of the Alexandrians decide to haul ass and leave their friend behind, but not Abraham who rushes into the fire, so to speak, to try and make sure they don’t leave one behind.

Unlike Nicholas’ brand of cowardice, Tobin and the rest of the Alexandrians see Abraham’s courage and end up following suit. Tobin himself admits to Deanna and Reg Monroe that if it wasn’t for Abraham not doing things the Alexandrian Way (meaning run and hide when things get tough) then Francine (the one who fell off the dozer lifter) would have surely died. Abraham was the right person and leader to run the construction team and Tobin was man enough to admit to it.

It’s a situation that both Deanna and Reg don’t seem to like hearing. Rick and his people have just recently arrived and already seem to be putting themselves in leadership roles. Rick was one Deanna understood with his law enforcement background, but the fact that both Abraham and Glenn seem to exhibit similar leadership qualities that her own people seem to lack could be the sign that the ASZ might just get a change in how things are run and who runs them.

The third storyline continues the adventures of Rick and Carol as they try to navigate, in their own fashion, this fake Eden they’ve found themselves in. Carol finds herself being followed by Jessie’s youngest son Sam. It didn’t matter that Carol herself threatened Sam with kidnapping and death by zombies, he still kept her secret and only tagging along to have more of the cookies Carol made for him. We find, and Carol, find out in no uncertain way from Sam that his dad might very well be an abusive husband and father. This doesn’t sit well with Carol who has some first-hand experience with a family abuser. It doesn’t take much for her to figure this out. Carol doesn’t hesitate in making sure Rick finds out and her recommendation to Rick on how to deal with Pete shouldn’t surprise people who’ve seen Carol’s growth from battered housewife to all-around badass.

The whole Alexandria Safe Zone arc has been met with some trepidation by fans and critics. It’s another static location like Hershel’s farm and the Prison that led to some very wheel-spinning storytelling. It’s a reaction that’s understandable. Having a regular setting and not keeping the group on the move sometimes led to plotlines that stagnated. When on the move the stories being told in the show seem to have a sense of forward momentum. Even some of the weaker on-the-road stories felt like it had a quicker pace to them. This doesn’t seem to be the case with Alexandria.

The group hasn’t been wasting their time to spend wallowing in the existential problems brought about by the zombie apocalypse. They’ve actually done in their own individual way something to find out more about the ASZ and those who run and been kept safe behind it’s walls. Tonight we find out more of what makes the Alexandrians tick and it’s not a pretty sight. Gabriel might be trying to poison Deanna’s mind when it comes to Rick and the others. He wasn’t wrong when he said that Rick and his people were not good people. They have done some unspeakable things to survive. Yet, Maggie also understands some of Deanna’s own agenda for allowing Rick and his people to join the Alexandrians.

Rick, Glenn, Carol, Abraham, Daryl and others know what they’re doing. They’ve survived out in the wild for almost two years now and even after some devastating losses they still manage to persevere. Sure the group seem to be suffering through a collective form of PTSD, but they still know what it takes to survive and they seem able to do so without having to always fall back on their basest nature to do it.

Will this mean that Rick still doesn’t seem to covet his neighbor’s wife (Rick definitely channeling his inner Shane in the Alexandria story-arc)? Will Sasha ever leave her lookout tower ever and not go on a killing spree? Will Carol hold back from doing what’s necessary when it comes to the Alexandrians (meaning will she kill them all to save the others)?

These were questions that weren’t answered in tonight’s episode, but at least we’ve now been given some reasons why it wouldn’t be so bad if Rick and his people just took over the ASZ and ran things their way. There would certainly be less people dying for stupid reasons and everyone wouldn’t have just predetermined jobs the way Deanna likes things done, but all chipping in to protect with everything they’ve got including their own lives.

There’s a war brewing in the future and whether it’s between the Alexandrians and Rick’s people still needs to be determined. The Wolves are still out there and Noah knew it and wanted to make sure the walls never falls the way his own community walls fell while he was away. It’s a shame and a currency spent that he would never get to see his promise come true.

Notes

  • Tonight’s episode of The Walking Dead, “Spend”, was directed by Jennifer Lynch and written by series veteran Matthew Negrete.
  • Jennifer Lynch’s work as director with tonight’s episode was excellent and here’s to hoping she returns for future episodes for seasons to come.
  • Even in the zombie apocalypse there is still dubstep.
  • Carol seems to have gained herself a lost puppy in Jessie’s youngest son Sam.
  • When did Abraham suddenly become the catchphrase guy. He already gave birth to the catchphrases “dolphin smooth” and “Who’s DEANNA?!”. Tonight we get the best yet when he finds himself surrounded by zombies and all he can do is smile and utter “mother dick”.
  • The death scenes for both Aiden Monroe and Noah were reminiscent of a couple deaths in the end of Day of the Dead: Capt. Rhodes and Pvt. Torrez.
  • Some great work by Greg Nicotero (whose bday was tonight) and his KNB EFX make-up crew with the deaths of Aiden and Noah.
  • Talking Dead guests tonight are Josh McDermitt, Tyler James Williams and Steven Yeun (Eugene, Noah and Glenn of The Walking Dead)

Season 5