Horror Review: The Walking Dead S4E01 “30 Days Without An Accident”

Posted on October 13, 2013 by Arleigh

“I’m just tired of losing people is all.” — Daryl Dixon

It’s that time of the year when The Walking Dead returns to the airwaves with a new season. Whether one believes the show is the best thing on TV or a mess of a show it’s hard to deny the fact that it’s become must-see TV whenever it comes back. The series has become pop-culture event that other shows of better quality and acclaim wish they could muster (the final 8 episodes of Breaking Bad was the closest to accomplish it).

The returns for it’s fourth season with a new showrunner in series veteran writer Scott M. Gimple. It’s this constant changing of showrunners that seem to make critics scratch their heads. For a show that could never keep a guiding hand for more than a season the series never seems to lose any of it’s popularity and it’s ratings numbers.

“30 Days Without An Accident” sees the show come back after what looks like an extended period of time since last season’s finale. The prison compound looks to have been fixed and improved with new defenses. There seems to be more people now than what was brought over from Woodbury at the end of last season. It would seem Rick is out as leader and a new leadership council have decided to bring in survivors they come across since last season. Carl and Judith are not the only kids in the show anymore.

The episode actually starts off quite serene in comparison to past season premieres. There’s a lack of desperation and kill-or-be-killed tone to this season premiere, but there’s still a sense of something still not right just beneath the surface of relative normality we’re given. Even the normally taciturn badass Daryl Dixon gets to relax a little with all the new people greeting him like an old friend. Yet, we all know what this show has always been about. For all the notion of rebuilding civilization that we see in tonight’s episode the streak of 30 days without an accident was bound to end and it does so in bloody fashion.

Some will probably complain that tonight’s episode was too slow in the beginning. It’s unlike the action-packed season 3 premiere with Rick and his smaller, but highly-trained group clearing out the prison yard with military precision. Again this goes to show that this season that desperation of trying to find the next safe place to rest has now been completed. They do have a safe place to call a safe haven. There’s now a growing farm with vegetables and livestock. They now a common area outside where people cook and eat their meals. We even see Rick and Carol looking to see that the younger members of this burgeoning community get to have some sort of education and time to be kids.

The writers of the show have been very good with creating these little serene and peaceful set-ups only to pull the rug from under everyone and it’s no different with tonight’s season premiere. The group going out into the “world” to scavenge for supplies seems like it’s become routine for this community from the early set-up, but it also looks to have created a sense of complacency in the group as a whole. We see the consequence of this complacency and belief in that things were getting into some sort of normal.

We see a routine and efficient run to scavenge a Big Spot supermarket turn into a nightmare with zombies literally raining down on the group. It’s a great action and horror sequence that managed to be both full of tension and terror. While it also had a “redshirt” feel to who would live and who would die it still didn’t diminish the fact that if The Walking Dead the series was good in any one thing it was setting up and executing action scenes.

The scene with Rick and the Lady in the Woods was another good sequence that focused more on showing just how screwed up this new world Rick and the community is still trying to come to grips with. For all their attempts to establish this normalcy within the prison’s fences the world outside is still a “kill or be killed” place. Even though it was only a brief turn as the Lady in the Woods, Kerry Condon does a great performance conveying how desperation in the early going of this zombie apocalypse has broken so many people. Where Rick and most of those he has rescued and kept safe haven’t succumbed to despair this woman in the woods gave up. She’s an example of where Rick could’ve ended up right from the beginning of the show if he never found his family. This entire series has been in part a story of how Rick has been trying to keep himself from giving up.

Then the final sequence right leading up to the episode’s end shows us that things that were taken for granted pre-zombie apocalypse might just be coming back with a vengeance as we see one of the new people introduced in the first half of the episode succumb to what looks like a virus. It’s good to see that the writers of the show are beginning to spread their boundaries when it comes to bringing in ideas to the show. While some might not think it’s an important detail I’m sure those who dedicate their life in studying crisis management and events will look at tonight’s episode and nod their head’s in agreement. Zombies might be the main threat facing this community, but the show has now introduced the threat of diseases that usually gets cured with a trip to the doctors or the pharmacy. In a world where everyone has reverted back to an almost medieval style of living such things have become luxuries or non-existent.

So, for a season premiere “30 Days Without An Accident” was a good start for the new regime of Scott M. Gimple. He was able to bring in a new thematic element to the show’s overall narrative with the hope of rebuilding civlization, creating the sense of normalcy in a world turned upside down and new characters to support the returning veterans. He has also made it clear that for all the serenity we saw in the first half of tonight’s premiere the overriding theme of the show will continue to be that danger and death will always be out there waiting to get in and with tonight’s episode we see that it already has found a way in.

Notes

Tonight’s season 4 premiere, “30 Days Without An Accident”, was directed by series co-producer and make-up FX guru Greg Nicotero. It also marks the first time new showrunner Scott M. Gimple starts off a new season.
The way the new people in the group are greeting and reacting to Daryl Dixon one would think his legion of fans have joined this season’s cast of The Walking Dead.
Smart to clear out the horde of zombies at the fence line through the fence line. One thing most zombie fiction always seem to leave out or just get wrong is the constant need to keep the perimeter clear and secured.
Looks like it’s not just the Glenn-Maggie ship plying the zombie apocalypse seas this season.
Daryl Dixon is now one of the group’s leader…fangirls react enthusiastically to this new development.
The show has two HBO veterans joining the cast in Larry Gilliard, Jr. from The Wire and Kerry Condon from Rome.
I like how tonight’s episode gave us a brief, but tragic glimpse into those from other countries who got stuck in the area because everything fell to pieces in the beginning.
Too many new characters and the way this episode is moving it looks like some of them have to be redshirts.
AMC must’ve really opened up their tightwad purses to give Scott M. Gimple the chance to shoot that very awesome and bloody Big Spot sequence. It’s not often we get Visual FX on this show and the few times they’ve gone digital it looked somewhat fake, but not this time around with the destroyed Chinook falling through the weakened roof of the Big Spot.
Poor Violet and Patrick. At least, now we have an idea of just what new threat outside of the zombies and the missing Governor will befall this new community.
Swine Flu.
Talking Dead Guests: Nathan Fillion and showrunner Scott M. Gimple.

Horror On TV: Are You Afraid Of The Dark? — “The Tale of Vampire Town”

Posted on October 13, 2013 by Lisa Marie Bowman

When I first decided to devote some of October to featuring horror related TV shows, I knew that I’d have to include at least one episode of the classic Nickelodeon TV series Are You Afraid of the Dark? Back in the 90s, Are You Afraid of The Dark? was the best because it was a show about scary things but it was on Nickelodeon so you could watch it without having to worry about your mom coming in the room and making you change the channel.

The episode “Tale of Vampire Town” is about — you guessed it! — vampires. It was originally broadcast on April 24th, 1999 and it was notable for being one of the darker episodes of the series.

Horror Song of the Day: Polymorphia (by Krzysztof Penderecki)

Posted on October 13, 2013 by Arleigh

A couple weeks ago site music writer necromoonyeti wrote up quite an article about what just makes a piece of music a “horror music”.

Using some of what necromoonyeti wrote about I decided to look at some horror and non-horror films with music that evokes that sense of terror and horror that sometimes come from music that we wouldn’t associate with such emotions. It’s a much more difficult task than one would think. Yet, while I didn’t find one of those non-traditional pieces of horror music I did come across one that I should’ve used in this segment a long time ago.

The latest “Song of the Day” is a piece of disturbing music titled “Polymorphia” by Polish composer Krzysztof Penderecki.

This musical composition has been used in two classic horror films (some would say some of the best in their genre) to help build the sense of horror and dread for the audience. The two films in question would be William Friedkin’s The Exorcist and Stanley Kubrick’s The Shining. I know that in the former it more than added to that film’s creeping dread from the moment the song came on. It made one feel like Hell itself was about to break through the screen. It’s that sense that one’s skin was sensing something evil was afoot.

I found a particular youtube video that used this song and the chosen imagery to great effect. I dare anyone to watch the video, listen to the music in a dark room and in the middle of the night while alone.

What Lisa Marie Watched Last Night #93: The Woods (dir by Lucky McKee)

Posted on October 13, 2013 by Lisa Marie Bowman

Last night, I turned over to Chiller and watched the brilliant 2006 horror film, The Woods.

Why Was I Watching It?

I ended up watching The Woods almost at random. I didn’t want to go out last night because it’s Texas-OU weekend and that meant that the streets of Dallas would probably be full of drunk people from Tulsa. Even more importantly, I couldn’t go out because I’m recovering from a sprained ankle.

Normally, under those circumstances, I would have watched and live tweeted an original SyFy film. However, last night, SyFy was showing Fright Night which I had little interest in sitting through. So, instead, I turned over to Chiller and decided to give The Woods a try.

And that is how I randomly discovered one of the best horror films that I’ve recently seen.

What Was It About?

The year is 1965. Angry teenager Heather (Agnes Bruckner) starts a fire in a forest. Frustrated by their daughter’s rebellious nature, her parents enroll her at Falburn Academy, a boarding school that sits in the middle of the woods. Because she is the only redhead at the school, Heather is an immediate outsider who finds herself being taunted by the blonde Samantha (Rachel Nichols) and called “Firecrotch” by her other classmates.

However, Heather has more problems that just a bunch of anti-redhead bigots. She has nightmares where voices seem to call to her from the woods. Her friends Marcy and Ann both disappear from their beds, leaving behind a pile of dead leaves. Meanwhile, the school’s mysterious headmistress (Patricia Clarkson) insists that nothing strange is happening…

What Worked?

I wasn’t expecting much from The Woods. After all, it was a film that was released straight-to-DVD in 2006 and Chiller doesn’t exactly have a reputation for showing the best films. But, oh my God, y’all — The Woods turned out to be such a good film! The Woods is an atmospheric and surprisingly well-acted film that’s full of haunting imagery and memorable details. Much like Dario Argento’s Suspiria (which has a similar plot to this film), The Woods is a triumph of both style and substance.

While the entire film is well-acted, special mention should be made of Patricia Clarkson, who gives a performance that is both menacing and humorous. Genre fans will be happy to see Bruce Campbell in the role of Bruckner’s well-meaning father.

Finally, I have to admit that, as a member of the 2% of the population who have been blessed with red hair, I have a special appreciation for this film. Behind all of the scares, The Woods provides a compelling portrait of the discrimination that those of us with red hair struggle with every single day. From the minute Heather enters Falburn Academy, she is the subject of constant prejudice because of the color of her hair. As someone who has had to endure countless comments about redheads not having souls, I both related to and appreciated the film’s sensitivity to those of us in the 2%.

What Did Not Work?

Over on the film’s imdb page, there’s some debate as to whether or not the term “Firecrotch” was in use back in 1965. Personally, I think that’s nitpicking. The fact of the matter is that anti-redhead prejudice has always been with us. If people in the 60s didn’t attack us by calling us “Firecrotch,” they undoubtedly called us something equally bad. As far as I’m concerned, the entire film worked perfectly.

“Oh my God! Just like me!” Moments

Almost the entire film was an “Oh my God! Just like me!” moment, largely because the main character was a redhead and had to deal with constant anti-redhead prejudice. (“Oh my God! Just like me!”)

At one point, Samantha taunts Heather by asking, “Is your pubic hair red?” which is the exact same question that I got asked several times throughout high school, though in my case, I was usually asked by a guy with a smirk on his face. (“You’ll never know,” I would reply.) Heather then finds herself being repeatedly called “Firecrotch” by people who are jealous of her red hair and again, oh my god! Just like me!

Finally, as I mentioned above, I sprained my ankle last Wednesday and, as such, I’ve spent the last few days recovering. Amazingly enough, about halfway through the film, Heather twists her ankle. She spends the rest of the movie either on crutches or painfully limping. Oh my God! Just like me!

(As a quick aside, can I just say how much I HATE crutches!? Oh my God, they’re the worst…)

Lessons Learned

I am tempted to say that the main lesson to be learned from The Woods is that it’s not easy being a redhead. However, I knew that before I watched the film. I also knew that you should stay out of the woods, which is the main reason why you’ll never catch me camping.

So, the most important lesson that I learned is that everyone should see The Woods.

6 More Trailers For A Scary October

Posted on October 13, 2013 by Lisa Marie Bowman

It’s the second Sunday in October and that means that it’s time for another horrific edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film trailers!

1) The Rats Are Coming! The Werewolves Are Here! (1972)

2) Horror Hotel (1960)

3) Repulsion (1965)

4) The Devonsville Terror (1983)

5) The Pit and The Pendulum (1991)

6) House of Usher (1960)

What do you think, Trailer Kitty?

Horror On The Lens: Starship Invasions (dir by Ed Hunt)

Posted on October 13, 2013 by Lisa Marie Bowman

Today’s horror movie on the Shattered Lens is a 1977 Canadian film called Starship Invasions. While at first glance, Starship Invasions may appear to be more of a science fiction film than a horror film, things do get pretty horrific once Christopher Lee starts shooting his suicide ray.

Here’s what you need to know about Starship Invasions:

1) Judging from the look of the film, it must have cost hundreds of dollars to make.

2) All of the aliens communicate through telepathy so, while you get to hear Christopher Lee’s voice, you never actually see his lips move. I presume this was done because the filmmakers wanted to save money by shooting the majority of the film without sound.

3) In the UK, the film was released under the title Project Genocide, which just doesn’t have the same oddly generic charm as Starship Invasions.

4) Christopher Lee reportedly considers this to be one of his worst films.

5) However, the film is kind of fun in a bad, 1970s sort of way.

Add to that, how can you have a horror month without featuring at least one Christopher Lee film?

Horror On TV: Thriller 1.30 “Parasite Mansion”

Posted on October 12, 2013 by Lisa Marie Bowman

Down here in Dallas, channel 47 is the local Me-TV affiliate. Me-TV specializes in showing old TV shows from the 50s, 60s, and 70s. The network sells itself as a nostalgic refuge for people who are several decades older than me, a place where they can go to escape from Seth McFarlane producing sitcoms and Maury Povich conducting DNA tests.

But you know what?

I like Me-TV and I’m glad that it exists. It probably has something to do with me being a history nerd at heart. I love the chance to see what the world was once like. Add to that, some very good shows were produced in the 50s and 60s. Just because a lot of us weren’t there to experience them firsthand doesn’t mean that we can’t appreciate them in rerun syndication.

Case in point: Thriller.

Thriller aired for two seasons in the early 60s. It was an anthology series, in the tradition of The Twilight Zone. Whereas The Twilight Zone was hosted by Rod Serling, Thriller was hosted by horror icon Boris Karloff, who always introduced the macabre material with a bemused gleam in his eyes.

Parasite Mansion was the 30th episode of Thriller and it originally aired on April 25th, 1961. In this episode, Marcia (Pippa Scott) crashes her car outside of a dilapidated Southern mansion. When she awakens, she finds herself in the position of being the unwilling guest of the eccentric family that lives inside the mansion. I like this episode, largely because I can never resist Southern gothic atmosphere.

Incidentally, the family’s matriarch is played Jeannette Nolan and, if she sounds familiar, that’s probably because she was one of the many actresses to voice Mrs. Bates in Psycho.

Horror On The Lens: Suburban Sasquatch (dir by Dave Wascavage)

Posted on October 12, 2013 by Lisa Marie Bowman

Today’s horror movie on the Shattered Lens is 2004’s Suburban Sasquatch.

Suburban Sasquatch (and, it must be admitted, that is a great freaking title) tells the story of a sasquatch who invades the suburbs. Well, we assume he’s a sasquatch. To be honest, the creature actually looks like some guy wandering around in a bear suit but no matter. Once the so-called sasquatch reaches the suburbs, he goes on a killing spree and … well, that’s pretty much it.

Okay, so obviously, Suburban Sasquatch isn’t a very good movie. In fact, it’s probably one of the worst movies ever made. The monster looks ridiculous, the acting is terrible, and the special effects … well, it’s debatable whether or not there are any special effects. However, Suburban Sasquatch is one of those movies — much like Manos, the Hands of Fate — that is watchable precisely because it is so unbelievably bad.

Also, Joel McHale once said that Suburban Sasquatch was his favorite movie of all time.

I love Joel McHale.

Horror Film Review: Horror of Dracula (dir by Terrence Fisher)

Posted on October 11, 2013 by Lisa Marie Bowman

Of all the monsters who have appeared in horror cinema, Count Dracula is perhaps the most iconic. Reportedly, Dracula first appeared on film in 1920, in a silent Russian film that is now considered to be lost. In 1921, he would appear in a Hungarian film called Dracula’s Death and in 1922, he would be renamed Count Orlok for the German masterpiece Nosferatu. Indeed, by the time Bela Lugosi gave his famous performance in Tod Browning’s Dracula, the count had been appearing in films for at least 11 years. In nearly 100 years of filmmaking, a countless number of actors have brought Dracula to life.

We could spend hours debating who was the best Dracula and certainly, there are some worthy contenders. Bela Lugosi brought a continental sophistication to the role, while John Carradine was properly intimidating and theatrical. Udo Kier, Gary Oldman, Thomas Kretschmann, Leslie Neilsen, Zandor Vorkov, and Frank Langella have all played the prince of darkness, to varying degrees of success.

Yet for me, as worthy as any of those actors may be, there is only one true Dracula and he was played by Christopher Lee.

Lee famously played Dracula in seven movies for Hammer Films and, though he has often complained about the quality of these films (especially the later ones, which tended to mix Dracula with hippies), they were largely responsible for making Christopher Lee into the iconic figure that he remains today. It’s also largely due to Lee’s performance that horror fans like me continue to discover and appreciate the films of Hammer today.

As played by Christopher Lee, Dracula was pure evil. Lee’s Dracula had no use for self-pity and one can only imagine what his reaction would have been if he had ever run into the self-torturing vampires of Twilight. Lee’s Dracula had no use for doubt or regret. Instead, he was a determined animal who was driven by a singular lust for blood.

And yet, at the same time, Lee brought an intelligence to the role that was often lacking in previous performances. Lee’s Dracula may have been an animal but he was a cunning animal. Whereas it’s easy for me to imagine escaping from the clutches of Bela Lugosi, I know that if Lee’s Dracula wanted me then he would have me. There’s no escape from Lee’s Dracula. He’s too quick, determined, and intelligent.

His animal nature made Lee’s Dracula frightening but it was his cunning and determination that made him dangerous and, ultimately, even sexy. (While I’ve read that audiences in 1931 swooned over Bela Lugosi, whatever sex appeal he may have had is lost on modern viewers like me.) It has often been argued that Bram Stoker meant for Dracula to be a symbol of all the desires that were repressed by Victorian society. That’s certainly true when it comes to Christopher Lee’s carnal and viscous portrayal of the character.

Of the seven Dracula films that Christopher Lee made for Hammer Films, the first remains the best. Released in 1958 and known as Dracula in the UK and the Horror of Dracula in the US, it revitalized the horror genre and helped to make stars of both Christopher Lee and Peter Cushing. Especially when compared to some of the sequels that Hammer subsequently produced, it remains one of the best Dracula films ever made.

The film is a very loose adaptation of Stoker’s original novel. Jonathan Harker comes to Dracula’s castle in Romania. Though posing as a librarian, Harker has actually come to the castle to drive a stake through the heart of both Dracula and his vampire bride. However, no sooner has Harker staked the bride than he’s overpowered and bitten by Dracula. Significantly, all of this occurs within the first 10 minutes of the film. As opposed to certain other Dracula films, Horror of Dracula gets straight to the point. And why shouldn’t it? After all, anyone watching the film already knows that Dracula’s a vampire so why waste time trying to convince us otherwise? We don’t watch Dracula for the familiar story as much as we watch to discover how different filmmakers will choose to tell that story.

When Harker’s colleague, Prof. Van Helsing (played with the perfect amount of intensity by Peter Cushing) shows up at the castle, he discovers that Harker is now a vampire and that Dracula is nowhere to be found.

Dracula, needless to say, is out for revenge. He stalks Harker’s fiancee Lucy, as well as Lucy’s brother Arthur Holmwood (Michael Gough) and his wife Mina (Melissa Stribling). Much as in Stoker’s original novel, Lucy is eventually turned into a vampire and it’s up to Van Helsing and Arthur to stop both her and her new master.

(Of course, in Stoker’s original novel, Harker is not turned into a vampire and instead marries Mina while the aristocratic Arthur is one of Lucy’s three suitors. However, I have to say that I always thought the literary Harker was a bit on the dull side and that Arthur was always my favorite character so I’m happy that he gets to be the hero here.)

If I had to pick one film to epitomize everything that I love about the Hammer brand of horror, it would be Horror of Dracula. As directed by Terrence Fisher, the film moves at an exciting, non-stop pace while the traditionally lush cinematography is almost bombastically colorful. Cushing and Lee, who were the best of friends off screen, make for formidable opponents, with Cushing embodying good just as effective as Lee embodied evil. Though it’s been over 50 years since Horror of Dracula was originally released, the film remains effective and, not coincidentally, a lot of fun.

Quite simply put, this is a film that, for so many reasons, remains a true pleasure to watch.

One final note — I often find myself lamenting that I was born several decades too late and I realize just how true that is whenever I watch a film like Horror of Dracula. Seriously, I would have loved to have been a Hammer girl, showing off my cleavage and getting hypnotized by Christopher Lee.

Seriously, what more could you want?

Horror Scenes I Love: The Howling

Posted on October 11, 2013 by Arleigh

I always thought that Joe Dante’s 1981 horror film, The Howling, has been overlooked just a little bit due to it’s release being the same year as John Landis’ own horror film, An American Werewolf In London. Both were werewolf films and both were good in their own right.

Dante’s film has been called silly by some critics, but it was the more serious of the two with Landis’ own film mixing in more black humor in the narrative than Dante’s which took on a more traditional approach to the werewolf horror. Even the transformation scene from both films took on opposite sides in terms of mood and tone. Where Landis’ film treated the scene with both a mixture of horror and camp (due to the music playing in the background) in The Howling the scene went for full-on horror.

This has been one of my favorite horror scenes and it’s all due to the work of the very person who made John Carpenter’s The Thing such a memorable piece of horror filmmaking: Rob Bottin.

This man should be handed every award for every effects work he has ever done and will continue to do. It’s a shame that he hasn’t done anything of note since 2002’s Serving Sara, but until Hollywood decides that if they want great practical effects paired with advancing CG ones and hire Bottin once again we can always fall back on his past work such as the one’s he did for The Howling.