Zombie Reviews . . . Pride and Prejudice and Zombies
By A. Zombie
Pride and Prejudice and Zombies delivers a timeless tale, rife with fighting, set in a post-apocalyptic, yet historical era. You can’t deny that it is oddly satisfying to watch a group of accomplished young women mow down a ballroom of zombies with naught but long daggers—which were concealed under their gowns—and some serious martial arts skills. Are there issues meshing the worlds? Of course. In the end, the film is visually satisfying enough to overlook most of it. As a boon, fans of the Pride and Prejudice story still find enough of the source to reconnect with their favorite characters in a whole new way. Or, as is one case, finally come to somewhat like what is possibly the most annoying character in literature.
Sam Riley and Douglas Booth in Screen Gems’ PRIDE AND PREJUDICE AND ZOMBIES.
The Pride and Prejudice story has enough twists and turns to make it a compelling tale. Adding in the undead posed a particular problem: How to keep the romance in the forefront without compromising a solid story about love’s place in the social structure by changing the setting to the apocalypse. In order to achieve this the quickest way possible, the film doesn’t open with the Bennet ladies and their marriage-worried parents—I will note that post-apocalypse Father Bennet has no interest in wedding off his daughters, only training them to survive. Instead, it begins with Darcy on the hunt for a zombie hiding in the midst of the upper crust. As far as first impressions goes, it’s a pretty sharp introduction. The first zombie isn’t a rotter, held back from the full transformation because he didn’t consume human flesh. Nevertheless, he’s infected and must be dispatched. It’s the first-person point-of-view kill which ruins the scene’s impact. Darcy is cunning and ruthless, then there’s this cheesy head-rolling moment with the camera. When it recovers from the point-of-view shift, the camera pans upstairs to a second, far more detailed zombie before the scene changes. The scene is crammed in before the traditional start to the PaP story, and the outcome of Darcy’s escapade, plus his failure to kill the second zombie, is dragged in again as a way to bring zombies to Bingley’s first party. At least it isn’t a single-purpose moment.
For the most part, the story itself is predictable if one is aware of the source material. There’s very few surprises, like Lady Catherine’s part as a one-eyed, sword-wielding leader in the human forces fighting the dead for control of London and the surrounding countryside. Even Wickham’s true nature, beyond being a cad and a narcissist, isn’t really shocking if one follows the natural progression of how the original book unfolds. I would’ve liked to see more effort to adapt the full story into something different. Lady Catherine remaining on the side of the angels bugs me in particular, seeing as she’s pretty awful to Elizabeth no matter what incarnation of PaP is being told. It would’ve been more shocking for her to side with Wickham over a common undead state than to willingly take in the Bennets, whom she sees as barely above her lady’s maid in social status.
Lily James and Bella Heathcote in Screen Gems’ PRIDE AND PREJUDICE AND ZOMBIES.
This is one horror film where it’s hard to do what we’re accustomed to: hoping all the lead characters bite the big one. Primarily, PaPaZ is a romance with relatable, quirky characters. The zombie war is there in the background to give Elizabeth and Darcy something to bond over, to put them on equal footing at last. That’s the big difference in this retelling of the classic. Elizabeth isn’t some seemingly-damaged suitcase her parents try to sell Darcy—and any other man without a bride— with no concern for her feelings. Yes, Mrs. Bennet’s marriage obsession plays a huge role in breaking apart the primary couple, as it always does, but it’s not as depressing as usual when looking at what Elizabeth has accomplished without a husband. Her prospects with zombies raiding England are better than they were in the actual historical era, all because their new society saw an education with the key sources far beyond the country’s borders as the only way to survive the menace—looking out to find a way to fix the problems within is something few societies embrace. Her progress in women’s self-empowerment doesn’t stop the entire Parson Collins plot from happening, though. He still arrives, annoys, and marries a Bennet daughter. Only this time around, Collins is somewhat tolerable because Matt Smith made him a bumbling fool, not a man coldly calculating how to sleep his way ahead in Lady Catherine’s good graces. Collins provides another opportunity to sew zombie conflict into the Bennet’s lives, but the potential went unchecked. The writer had a focus; Wickham’s established part as villain would be upheld. But why is he the villain? Why not any of the numerous people in Elizabeth’s life who degraded her for her gender or her place in society? Answer? He took a woman (property in the era) without permission. It’s a trope so old, I really hoped it would remain in the classic story and they’d do something different for the Wickham/Lydia plot.
The zombies in the film range in appearance. For the most part, they’re seen at a distance in groups. Few zombies get the close-up treatment, even fewer actually show grotesque wounds like traditional undead depictions. When the camera does get up close and personal with a zombie, I cringe. The design overall is great. Having undead waltzing around in these grand gowns and waistcoats strikes an oddly-pleasing discord. The illusion blows to pieces when one realizes there’s little practical gore on the actors. Featured dead have digital wounds; presumably to enhance the ick, plus make wounds deeper and move naturally during dialog. However, even the church girls on-screen for all of a minute appear to have digital rot on their cheeks instead of practical makeup. That’s where the design decisions stop making sense and become a headache for genre fans. The film cost enough without making the makeup digital. In a way, it feels we were cheated from a proper zombie battle scene because of the zombie design relying on digital gore. Yes, there’s a rather tense bit toward the end when they finally confront Wickham and the undead at St. Lazarus, but the camera is pulled back. Distance from the main threat in the film leaves the undead with the menace of a mosquito, not a lion hunting the countryside. It robs a little justice from Lydia’s rescue, as well, when there’s no real danger from zombies who are too far away to see clearly.
Overall, Pride and Prejudice and Zombies delivers what it promised: A classic story with zombies wandering in to seriously ruin everyone’s day more than Darcy’s absent sense of humor. Is it a perfect retelling of Austen’s novel? Hell no. Is it a decent zombie flick? Yeah, I’ll give it that. PaPaZ gets four majorly dislocated jaws out of five. Grab the film to enjoy beautiful things covered in blood n guts, stay for the witty snits between Darcy and Elizabeth.
Out with the old baddies and in with the new. The Necronomicon has returned home to Hell after an extended vacation topside to chill with his Deadite homies. They’re probably lounging around a lava pit telling tales of possession and taking bets on how long Ash will last against Baal. One demon lord doesn’t seem that imposing in a franchise where the lead character faced an army of sassy skeletons and survived. Then Baal whipped out his massive powers.
Unlike some shows where the bad guys all have the same M.O., this one strives to venture into new, different lands. While having an episode plot based around “Who’s really the bad guy,” isn’t shining and new in the idea department, turning Baal into a skinwalker leaves a lot of fun to be had in a cliché plot device. It also allows the SFX department to give Baal’s goons a style not easy to forget. I mean, I’d wet myself if a skinless woman fell through my ceiling and ripped a prostitutes’ arm off, let alone forget it happened anytime soon. One failing in Baal’s powers is this seductive bullcrud he pulls on Ruby. She’s a badass, killing evil right and left; then Baal swivels his hips and she literally can’t form sentences? It’s a huge disservice to the female characters on the show to go from an episode where they clean house without any men to back them up, to Ruby practically begging for a little action from the guy who killed two women inside the sheriff’s station without blinking. Using sex to negate Ruby’s strength is a low blow. Ash gets laid all the time and he still gets the evil-slaying job done. Baal has so many other evil things he can do, let’s lay off the whole, “His groin is mesmerizing,” thing. Okay?
With everyone locked in the sheriff’s station wondering who’s got Baal crawling around in their skinsuit, tensions run higher than Chet’s blood-alcohol level. Sheriff Emery and Ash are at each other’s throats the entire time Linda is at the station. It comes down to Kelly to calm everyone down. By that I mean she grabs the sheriff’s gun and holds everyone hostage—when they’re technically already in a hostage situation. The Inception-like hostage situation happens again elsewhere in the station when Ruby goes to retrieve her dagger. Baal uses a deputy to work his D-Mojo on her, rendering her pretty much useless until the episode’s end when she just happens to help Ash save Linda.
Like having a skin-stealing demon on the loose wasn’t bad enough, Pablo’s got a mean case of what-the-hell-is-that spreading across his stomach. Personal theory, dude’s turning into something akin to the Necronomicon. Why else would he have Sumerian written across his torso? No one signs up for oozing boils and a dead language willingly. Ruby is thrilled about Pablo’s condition. Pablo would rather French kiss a shotgun. But, hey, he should be proud. He’s the key to saving the world . . . after dooming it by tossing the Necronomicon in Hell and freeing Baal.
Looks like more skin-jumping good times aren’t all that’s ahead for the show. Ashy Slashy may just finally win the girl this time around. Sheriff Emery isn’t the man his wife thought after shrieking throughout the fight with his skinless deputy. Linda breaks up with him then and there, totally falling for Ash’s blood-drenched swagger. All of them are out of their minds considering their having a lovers spat over a bisected, skinless corpse.
That’s the joy of this show. It doesn’t really care so long as Ash looks a fool, there’s about twenty gallons of blood used, and someone at home says, “What the heck is going on now?”
Yeah, the warning is right on top this week. We’ve got a lot to discuss and little time to pussyfoot around with generalizations and all that rubbish. You guys waited months for this episode. Was it worth the anger at the producers and writers who said we’d be glad for so much time to stew over who died? Do you feel cheated by the dual deaths? How about all that brain matter on the ground, was it too much? Most importantly, are any of us really feeling the emotion between Rick and Negan or will the directors continue leading it to an awkward place where it’s laughable?
I, personally, feel cheated out of the surprise. The producers showed their hands months ago when they continuously stated that the show would gradually realign with what happens in the comic books. One death talked about constantly is Negan murdering Glenn. Hell, someone just released an action figure featuring Glenn’s mangled face as it’s shown on the page—which is almost identical to what’s on screen for that heartbreaking apology to Maggie. Almost in the same breath as the realigning statements, TWD higher-ups denied that Glenn would die. Red flag. Red flags everywhere. It was raining them at SDCC 2016. Since then, I’ve spent the time away from TWD saying goodbye to my favorite character. So when Negan first hit Glenn, my reaction was a resigned sigh. Then profanity, and more sighing. The show which constantly states they want to break boundaries and do new things is still utterly predictable.
Abraham’s brutal murder wasn’t overly shocking either if one stops for even a minute to think as Negan would when sizing up his newest assets. Manipulation is his bread and butter. One look at Rick’s people and how they handled interactions with the Saviors told Negan everything he needed to know—kill Abe because he’s ride-or-die loyal, keep Daryl because he’s mentally fragile and can be manipulated just like Rick. This is easy for Negan. Twisting people’s minds to do what he wants is the sole reason he’s not rotting in a walker’s gut. So why would an astute audience willingly overlook this? Why, TWD writers, would you go for the two characters who make the most sense if your desire was to shock, surprise, and devastate? Anyone with half a brain who tunes in regularly knew we’d lose Abraham. Daryl sells too much merchandise. Rick’s demise would’ve been awesome, but ultimately disappointing because the lead-up to the murder scene was so lackluster and drawn-out. Killing a woman would’ve started a feminist war in the fanbase. Carl was a good candidate, but he’s got too much potential to carry the show forward now. Plus in Negan-sense, he’s a carrot to dangle in front of Rick to ensure good behavior. The remaining gentlemen, as much as we adore them, just wouldn’t have the same impact. I would’ve been more shocked by that scene if Negan didn’t kill anyone, but just as pissed off with the direction the show took for the season premiere.
I mean, since when is five minutes of Rick staring at a set we’ve already seen before gripping television? He’s supposed to have a breakdown during the whole axe-fetching scene. Okay, that’s believable. So why did it involve long shots of walkers shuffling through smoke cut with the footage shown at SDCC with Lucille and the main cast? The scene felt like something from an indie band’s music video—a lone, agonized man surrounded by the cheesiest surroundings ever, just to feel spooky. Then, to make the death scenes mean even less, they show clips with Rick imagining everyone else getting a kiss upside the dome from Lucille. Why? We already know what he’s thinking. A good actor can do that, and Andrew Lincoln is no slouch when it comes to his face betraying every thought in Rick’s head.
They wanted to come into the Negan Era with a loud noise. In order to make noise, the plot’s gotta move faster than a snail’s pace. Inertia. Ever hear of it? The ball doesn’t roll and keep rolling without a hell of a push. It took the show fifteen minutes to get to the murders. I almost turned it off, thinking they’d strung us along for yet another week, and I was done if that were the case. It wasn’t, but the scene is buried so far in the episode, it does no good other than to turn stomachs. The only reason the scene is hidden in the episode is because of the backlash from the season six cliffhanger. Many fans felt as I did; we’ll watch the opening scene for season seven to learn who died and move on to another, more entertaining show which actually strives to write coherently. In a direct thumb-nosing to the noise-makers speaking against the cliffhanger, they cut together the episode just to make us wait through a couple commercial breaks. How nice of them to ensure the show makes a buck from a group who’re pretty likely to throw out their TWD fan badges after learning who died. I’m not tossing my badge in the fire just yet because I have hope the Negan era will smooth out, but it’s a near thing after this episode.
The violence in the episode really struck some sour notes across the fandom. Every complaint I see is met with a laugh. Fans derided the writers when there wasn’t enough undead violence. They scream for blood anytime a character or group disrespects the main cast. Yet the bad guy, who we’ve been warned about constantly since the show began by fans of the comics, comes in and does exactly what he’s supposed to, and it’s suddenly too much for the delicate flowers planted on their couches. Take up gardening if you can’t handle fake blood on a show centered on how messed up humanity is without actual rules to govern it. Were the close-ups too much? Possibly. I’m not one to judge. Horror and gore are my jam. I only started watching TWD to see what KNB FX could do with extended time to develop creatures and death gags; they’ve yet to disappoint. I will state that wanting a show built on the premise of killing things in order to survive to shy away from gruesome murders is like expecting a unicorn to lick away your tears while curing cancer. It won’t happen.
For the most part, we already knew what’d happen plot wise: Someone dies, Rick and Negan have a long moment to deal with Rick’s stubbornness, the Alexandria crew is absorbed by the Saviors, and Maggie wants blood, but she’s in no position to even walk, let alone lead a war. Daryl as the cause of Glenn’s death was the lone surprise for me—as I stated, I saw the death coming, just not how it’d happen. We’ve waited since Merle’s death for Daryl to be relevant to the plot again and now I want him to be the next big death on the show. Why? Because Daryl knew dang well that someone else, not him, would die for that single punch. They all knew Negan’s M.O. by that point. Abe died because of Rick’s hubris, yet that wasn’t lesson enough for everyone’s apocalyptic savior? Yeah, no. I’m beyond done with their failed attempts to make Daryl into an actual character. He’s been a two-dimensional promotional tool for so long, they’ve forgotten the character has a brain.
Now that the clunky season opener is behind us, maybe the ball will roll through season seven better. But, wait, we’ve still got a whole ‘nother group to introduce over at The Kingdom. If that episode is as awkward and poorly timed as the Negan/Rick glare-downs in the RV, I don’t know how much longer they can continue to pretend they know how to produce a show, let alone write one with so much potential for real depth and ability to shine a light on the massive problems in today’s society. They keep dropping the ball. I’m tired of waiting for someone in the TWD production office to finally pick it up and run it in for a touchdown. It’s time they returned to giving fans entertainment of substance instead of shilling the Walking Dead name and filling their coffers.
Team Zombie rolled into San Diego for Comic-Con 2016, looking quite sharp, I might add. Wardrobe aside, the gang was down a man. Robert Buckley couldn’t make it. However, newly-christened series regular Aly Michalka joined the cast, along with show creators Rob Thomas and Diane Russiero-Wright. They were in good spirits, despite the usual chaos at the con. For a good reason, they began filming for season three this week. Matter of fact, I think I saw Rose McIver post a video from the set on Wednesday with Buckley in tow. The zombie ball is rolling. But how are they going to deal with the fallout from the season two finale?
We said goodbye to our main Big Bad. His company was taken over by Vivian Stoll and her undead army. Rob Thomas said Stoll comes into the show in a unique position. “I’m not sure I file her under Big Bad” Going into season three, Stoll is a reactionary presence to the impending zombie problems once the public finds out. Only, instead of having a standing army to defend humans, this army is made from the undead to carve out a place in the world for them once the truth flies. Power like that can be corrupted. It’ll be interesting to see which side of the fence Stoll lands on, or if she can carefully navigate the line between and remain lawful neutral. Adding so many new zombies to the mix poses some ethical questions for Liv. An example given later in the panel pits Liv’s shocking white hair and pale skin against Stoll’s brood who strive to always blend in, covering the very thing which makes Liv unique.
Team Z will regroup stronger than ever. Liv is determined to keep everyone on the same page. No secrets. Out the gate, they dig into Stoll’s company. Some B-stories aren’t following through right away. The Boss story line will take a back-burner to establish new characters and dynamics. Major will search for Natalie and fulfil his promise to her. Not sure if that’s a solo mission or not. I’d assume not since they finally have everyone on the same page. We’re not done cleaning up the Chaos Killer mess, either. There’s one more Popsicle to defrost. Robert Knepper will return as Angus DeBeers in episode one this season. I’m thrilled. The DeBeers family reunions are a things of beauty.
The creators promise a shift in the story style. Season three will play out more like episodes of Law and Order, where Liv and Clive catch the bad guys, Peyton prosecutes. It looks like more of the crimes will tie into the zombie thing, at least from the way Thomas phrased the style rundown.
Other random tidbits dropped during the panel include a promise from the creators to McIver that they will not kill Liv’s next romantic interest, even if it is Major. This isn’t Supernatural. The hot lead actor can’t keep dying and coming back via some miracle.
Yes, there’s a love triangle with Ravi, Peyton, and Blaine. No, none of them know where it’s going. Though the cast joked about making it an open relationship, including Clive, and dragging Liv along as the fifth wheel.
Don’t get your hopes up for a working cure. Thomas said if Ravi creates a cure, the show is over. He also enjoys writing Blaine’s memory loss too much to give up cure 2.0’s side-effects and move on to 3.0 just yet.
We learned that McIver got to veto one potential brain for season three. From a list of about fifty. Then the night before the SDCC panel, they informed her she would get to play dominatrix this season. Guess that one isn’t up for negotiation. It better be the most integral part of the story this season or I’m going to roll my eyes at yet another excuse to dress Liv down in any way.
The new zombie blood will shake things up for the show, along with a new story format. If they keep the momentum from the finale rolling through the first couple episodes, it should be a fun ride. iZombie returns to CW in October.
Fear the walking Dead SDCC 2016 Coverage By R.C. Murphy
Taking the stage first in the two-hour Dead block in Hall H at San Diego Comic-Con, Fear the Walking Dead kicked off the festivities with the teaser for the latter half of season two.
For the most part, the trailer focus on Nick’s pilgrimage to Tijuana. He meets some kind people, some not so kind people, and even more people with a bizarre connection to the dead. It’s like he’s drawn to this stuff. Madison drags Alicia, Strand, and Ofelia around Mexico looking for Nick with no results. They wind up taking refuge in a hotel which randomly rains dead bodies. But it must be an okay place, Alicia stopped to shower. Travis and Chris’ bonding trip is off to a rocky start as son insists repeatedly that he can take care of himself against the undead or any obstacle in his way. There is a lot more close-quarters fighting with the infected on the way. Alicia does some slightly-very dangerous things to shake her undead assailants. We’ve also got more than just the gangs and weirdos in Tijuana to look out for, as well. Chris and Travis’ problems aren’t all internal for the remaining seven episodes.
Producer Gale Anne Hurd said, “We’re really going to see a lot of things you’ve never seen on television before.” Having seen the TWD trailer, that bar is pretty high. I don’t think FtWD can deliver on the spectacle coming from its sister show. However, if they can get even an ounce of the energy from that trailer to translate to each episode’s timing, I may consider watching it again.
The characters fans saw earlier in the season won’t be quite the same. Producer Dave Alpert said he’s enjoyed watching the characters turn into “battle-hardened warriors.” Kim Dickens echoed the sentiment, saying what Madison did in the mid-season finale revealed a new side to her. We’ll see a more extreme Madison from here on out, perhaps? Madison isn’t the only parent stepping to the plate. Cliff Curtis claimed Travis won’t be a sad-ass when the show returns, he’s prepared to become a, “bad ass dad.” Pretty much every actor spoke up to say their character would get a harder edge for the new episodes. Matter of fact, Mercedes Mason said she wants Ofelia to “pull a Carol” and become “a really violent butterfly.” Coleman Domingo had a different outlook for Strand. He considers Strand a symbol for Western civilization. As his character survives, he will continue to break down.
There was a new face on the panel. Danay Garcia will join the show for the remainder of season two as Luciano. She plays a part In Nick’s story line.
Will the new blood and a kick in the pants for the characters be enough to make it as interesting as the trailer promises? I sincerely hope so. There’s too much potential in that cast to continue to watch them flounder with a poorly-managed script. The danger becomes if splitting the group and the story leads to forgotten characters or story-telling shortcuts which defy what little logic these characters operate by currently. I know there’s not much sense in a guy who covers himself in zombie goo all the time, but you know what I mean. Fear the Walking Dead will continue its second season on August 21st at 9 PM on AMC.
The Walking Dead SDCC 2016 Coverage By R.C. Murphy
The annual walker invasion at San Diego Comic-Con took place from July 21st through the 24th. Okay, there were a few thousand other people there, as well. Comic-Con is kind of a big thing, if you’ve lived under a rock for the last few years.
One of the most anticipated panels this year was The Walking Dead. Lucy had some ‘splainin’ to do about that angst-generating cliffhanger ending. Which is why Robert Kirkman struck that iron while hot shortly after the producers took the stage. Aside from numerous statements defending the ending since the finale, he simply added that fans would love the payoff from waiting so long for the reveal. We’ll agree to disagree, as we have since he first stepped on a soapbox to defend knee-capping Negan’s big moment.
What’s new for season seven? The producers confirmed a visit to The Kingdom, plus many more survivors and locations. Gale Anne Hurd meowed at one point, which baffled show fans who haven’t delved into the comic world. Kirkman admitted that once the show took off, he included things in the comics they’d never put on television. The show’s other producers picked up the gauntlet and plan to include some of the outlandish comic ideas into season seven. Sometimes these things bites one in the backside. In this case, one idea can bite off an entire backside and then some.
Right before they premiered the trailer, Nicotero shared new walker concept art. Looks like we’ve got more burned walkers on the way, plus the older walkers continue to become more mummy-like, and I don’t even know what happened to the bulgy walker. Death by bee hive attack?
Okay, on to the trailer.
I was really looking forward to seeing Jeffrey Dean Morgan swaggering on the screen. Instead, we got a rehash of the finale’s final scene, along with a cliché memorial video of sorts superimposed over Lucille. I would’ve gladly taken just the cropped shot of him slamming Lucille down on an unseen victim after a pan of the group by the RV. Instead they padded the footage with what is essentially an overly emotional teen girl’s video scrapbook. All that’s missing is the sappy song. The second half of the trailer delivers new characters, but too fast to identify any faces. We meet Ezekiel, leader at The Kingdom. Something we’ve rarely seen on this show is animals. Well, that’s about to change. There’s beasties coming. Most notably, Shiva, Ezekiel’s pet tiger. Funny how a few years ago, the show’s budget was nitpicked right and left. Suddenly they’re okay with tossing huge chunks of cash in to make CG animals.
The actors hit the stage when the trailer wrapped. Andrew Lincoln told fans, “Hang in there, guys.” He went on to say Jeffrey Dean Morgan has way too much fun as Negan. Which, as we already know, is probably creepy as hell on set, despite JDM’s infectious smile. There’s just something about a grinning guy wielding a barbed wire-wrapped baseball bat to make one’s sphincter clench. Lauren Cohan said, “We go to very physical and emotional places.”
Pretty standard quo for this show, but things are just beginning to take a turn for the worst. Nicotero confirmed it when he said this [their current situation with Negan] isn’t rock bottom.
The panel devolved into talk about on-set pranks and several cast members doing impressions of other actors. They did air the footage from when Reedus dumped a ton of confetti in Lincoln’s car air ducts. The first time I watched it, I couldn’t breathe because I laughed so hard.
I wasn’t happy with TWD at the end of season six, and they still haven’t done much to convince me they grossly mishandled Negan’s entrance. Yes, we get a flippin’ tiger next season, as well as a smarmy yet charming Big Bad, but fans are kind of a puppy kicked too many times. They’ve promised so many grand things, what happens if these season seven grand plans fizzle like the drawn-out Beth storyline?
Once you jump the tiger, there’s no going back. Hope they have a solid game plan going into this highly unpredictable season.
Starring: Jay Gallagher, Bianca Bradley, Leon Burchill, and Keith Agius
Rated: Not Rated (Contains violence, adult language, and mild nudity)
Synopsis: Barry is a talented mechanic and family man whose life is torn apart on the eve of a zombie apocalypse. His sister, Brooke, is kidnapped by a sinister team of gas-mask wearing soldiers & experimented on by a psychotic doctor. While Brooke plans her escape Barry goes out on the road to find her & teams up with Benny, a fellow survivor – together they must arm themselves and prepare to battle their way through hordes of flesh-eating monsters in a harsh Australian bushland. [Synopsis written by Kiah Roache-Turner and Tristan Roache-Turner]
This film came through the food slot on my cell door a while ago . . . and was promptly lost under a bone pile in the corner. I found it today and decided to give it a go—it’s not often I’m given the chance to watch a zombie flick from another country and I had hopes this would be an Australian La Horde in some way. Spoilers: It isn’t. Nor did it deliver a Mad Max vibe, as billed in the majority of press written by their marketing team. Homemade safety gear does not automatically make a film a skip away from entering the Thunderdome. Pair all this with a disjointed story telling gimmick for the first forty–five minutes and the film falls a little flat. Once they get past the getting-to-know-you bit with the characters and setting the apocalypse, it’s a tolerable hack-n-slash flick with enough comedic moments to overlook some flaws. I mean, how can one dislike a film with golden phrases like mouth farts?
One thing the movie has for it is an original approach to the ecological repercussions of the undead during the apocalypse. Surely people turning into freaky creatures at the drop of a hat means other things are wrong. Turns out, whatever airborne virus changes humans also makes combustible materials inert. How’s a guy supposed to save the day if he can’t drive? Simple, use zombies as fuel. The gas they emit is highly flammable. And smells like farts. That’s a key take-away from the film.
Okay. Not really.
As much as I enjoyed the witty banter between characters, there’s not a lot of depth to anyone except Barry. His story through the first half is gut-wrenching. However, once he gets back on track to finding his sister, the story unravels into a series of deaths designed to have little to no actual impact on the hero until he pairs up with Benny. Side note: There’s three lead characters with similar names. It’s like they got stuck on the B section in a baby-naming book while penning the script. Barry’s sister, Brooke, becomes the sole female survivor in the story. As such, she’s bogged down by metaphysical gifts to make her unique and special, and more powerful to the men holding her captive. It’s like the writers couldn’t fathom an everyday woman capable of escaping. While, yes, Brooke’s ability to control zombies is pretty neat, it becomes a plot crutch, leading to several long moments where she’s supposed to call the undead and leaves the action to happen around her, without the only woman on screen really doing anything aside from standing and scowling.
The hero zombie makeup is pretty decent, featuring sunken eye sockets and mild wounds since most zombies turn without being bitten thanks to the zombie gas in the air. However, there’s a few background zombies who get close-ups and their splotchy greasepaint makeup breaks the continuity established for the dead. It’s jarring to see four zombies in a row in detailed FX makeup with full-face appliances, only to zoom in one another which looks like their makeup took maybe fifteen minutes to apply in the back of a car with a palm-sized mirror.
Overall, Wyrmwood proved slightly disappointing. I wanted something grander, crafted with care for the genre. What they delivered needed more time in editing to make it flow better and maybe a few reshoots to elaborate more on everyone except Benny. I give the film three decaying hearts out of five. It’s an okay film to add to your zombie-flick marathon come October.
Warning, the following contains show spoilers and a strong opinion.
I’m a die-hard fangirl. When a show gets my attention, I hang on to the bitter end—anyone who saw my reaction to True Blood‘s final season know what happens when a show lets me down like a frayed guide rope while climbing Half Dome. At least that show started pretty strong. This show never really found its footing. Every time I thought they’d stepped up to the plate, wanted to be good horror, they failed to follow through. In the two episodes before the mid-season break, they lean toward the macabre. First with Celia’s guests in the cellar. Then they opened the mid-season finale with Ofelia’s face peeling off, only for it to be a dream. The cellar bit? We saw the same plot on TWD when they found the walkers in the Greene’s barn, put there because Hershel believed they weren’t lost causes. Celia saw it as evolution, driven by divine intervention in the form of zombies. Both think the undead are worth our love and care. No part of me was surprised to discover Celia ran a freaky suicide/mercenary side business. Nor did the religious slant surprise me. When they steered the Doomed Ship Lollipop toward Baja, I knew they’d use the culture this heavily. Why not? It gives them the perfect scapegoat to rehash the tiresome but-they’re-family plot. On Z Nation the Zeroes, based just south of the border, worship death. I guess FtWD thought they could do something similar and have it work as anything but somewhat insulting to an entire culture’s intelligence just because they’re constantly portrayed as chill with Death.
The effects gags just aren’t worth the effort to pay attention to the story-telling anymore. In the season opener, I called them out for using the boat propeller in the face gag. Since, it’s been more of the same bland infected action. Why? They set the first half of the season on a boat. Their human bad guys were as interesting as watching leg hair grow. So where does that leave us on the tension front? Bickering and nagging, occasionally silenced by an actor in zombie makeup limply shaking his arms at the lead actresses while they flail a fishing pole at it. Some shows are salvaged by the action when the story goes bad. But when nothing happens in the story or the action? What’s the point? Then it’s just people making bad decisions, living on a yacht, and yelling at each other.
“So we’ll make one of them insane!” Nice try, guys. I’d totally buy it . . . if Chris had any actual reasons not to trust Madison and her family. At what point have they left him behind or put him second? Madison and Travis drove into a riot to save him. They made a deal with perfect strangers in order to secure safe haven until the riot passed. Nick jumped off the yacht thinking Chris wanted to swim away or drown himself. They staged a funeral so he’d have a chance to deal with his mother’s death. So why he’d snap, threaten Madison and Alicia, and run away to hold a family hostage is beyond my reasoning. Nick is a more likely choice, seeing as they laid the groundwork for it with his rampant drug use. He does some batty things, like willingly walk around covered in walker goo on numerous occasions—so much so, the original scene from TWD in “Guts” has lost its impact entirely. Now he’s fearless and buying into Celia’s bull about life eternal. Also so apparently broken, Madison—mother of the decade—asks Strand to sort her crap out while he’s digging his lover’s grave.
If I even start on how they’ve written Madison, I’ll break my keyboard. She’s by far the nosiest, indecisive, and nagging character ever to survive to season two in a show. Seeing as she’s the universal mother figure, I hate to hear what the people at the writing table say about their mothers. Somebody in that writing room needed a hug as a child.
The characters have no backgrounds. They’re all blank until they need convenient problems—Chris’ insecurity and psychosis, Daniel’s PTSD and hallucinations, Nick’s trip down sociopath lane. Alicia led the group to their first real bad guys in the season and we still know nothing about her except she’s impatient and bravery makes her do rash things. Travis has the personality of a jellyfish, only finding a backbone to salvage the weird Chris-Is-Crazypants story. Strand actually has this decent backstory, except it came too late in the game to salvage the damage done before Tom was introduced, and then swiftly killed off to avoid that whole messy gay character issue. Leaving Strand the outcast yet again, essentially a blank slate so he can resume being a prick. Instead of writing a world and characters living in it, they’re writing caricatures to manipulate how viewers see the world and what happens in it. It’s not good storytelling. There’s no consistency. Narrators, the characters driving the story, must be consistent. Someone suddenly sporting a raging case of PTSD leading him to burn a building at the behest of his dead wife just means the writers wanted to blow something up for the mid-season finale. It works for Z Nation because explosions are a part of parodying the genre. It does not work for FtWD in episode 207 when it’s painfully obvious the only reason any of this took place was to burn things on camera. Again, this entire story was lifted from TWD season two, right down to the main survivor group disbanding at the end.
So why should I keep watching? If this show refuses to stick to their characters, follow a coherent story, or just rob content from the mothership, it really isn’t worth my time. I watched in the hopes that someone would bring another quality genre show into viewers’ living rooms since TWD is bogged down by expectations. What I got was essentially the discarded ideas from the main show, stretched beyond believability, and crammed into a glitzy, Hollywood setting. The grand settings are an attempt to mask everything the show lacks. All it did was tie their hands trying to make zombies work on water. I mean, there are ways, but it requires thinking outside the box. AMC didn’t buy outside-the-box. They wanted TWD, but with a longer name. What they can’t buy is my time.
This is the last review I’ll scribble for FtWD. There’s no salvaging the mess they’ve made. I’m jumping ship before it gets worse.
Call me crazy—most people do, anyway—but I was under the impression most television shows currently on the air wanted viewers to connect with and actually like the main character. If Bailey Barker’s brain is as close to pre-z Liv, it’s a wonder they based a show around her at all.
At her core, the Liv we find somewhat plucky and charming at times should be interesting beyond her profession. I have no doubt if allowed to live her life, Liv would’ve gone on to become an extremely competent doctor. She’d probably stick to the ER though because her bedside manner is like being comforted by a decade–old dead guy. I could never imagine hyper-focused Liv with a private practice. Yes, they dragged out the “She’s missing Drake,” tidbit yet again to drive home the idea that she can’t cope as a functional kinda-human without her beau by her side. But while she’s at it, can she come over to clean the command center?
With Ravi in on the truth behind the Chaos Killer’s identity—thanks to sleuthing far better than the pros, by the way—he’s on board to help Major figure out how to stay alive. There may never be full trust between any of these people when all these secrets hit the fan. So what’s one more? Major insists Liv remain on the outside. At least until their mad scheme is complete. The guys need to figure out how to cure the memory side effect from Cure 2.0. Unfortunately the lab rats can’t talk. In a streak of utter brilliance, Major offers up the pain in his backside to play guinea pig. The Chaos Killer has one last victim on his list. Vaughn Du Clark is slated to become a zombie, then get cured, memory wiped, and cured from the side effect. For a hair-brained plan, it’s not half bad. Too bad Major is an idiot who must secretly hate dogs. The pet groomer he conned a few episodes back leads Bozzio straight to Major as he’s in the middle of nabbing VDC. I’ve seen karma work wonders on television before, but Major’s circled back tenfold to kick him in the junk while he’s down.
What does this mean for Blaine? The guy still has no clue what’s going on. Don E. and Chief set themselves up to run the Lucky U and brain businesses, leaving the funeral home for Blaine to run. He knows there’s something not right, though. Blaine takes a trip to the police station to find Ravi in the morgue since he’s the only doctor he knows. Clive and Bozzio don’t buy the memory act. Neither does Peyton when she confronts him about killing her case against Boss. There’s some astounding acting during the scene where Ravi lays it all out for Blaine, all the grim details he has about the guy’s past. Bonus laugh, Major is so zen on coffee shop owner brains, he has the clarity to pity Blaine instead of just trying to kill him for ruining their lives.
I was hesitant to see if they could pull all the plot threads together for the season finale. There are some things which just slip past—Liv’s MIA family, Ravi’s ability to forgive so quickly, Peyton showing up just to nag or use people, etc.—and we take them just to get to the point. I’m way more invested in Blaine’s story line than Liv’s with Drake. Even Major’s story line is more entertaining, though it should have resolved before now to make it believable that these people managed to miss his involvement with the whackadoo company owner. The random dirty cop story line with Benedetto featured in the episode even begins to make sense in the grand scheme—one of the detective’s great catches is a Lucky U dealer who won’t talk because he, “works for zombies.”
Another LU dealer is the murderer in the episode. He’s killed by Chief, undoubtedly leaving evidence which will lead back to the funeral home. I would applaud the writing skill it took to get this all to work, but I can’t until Liv gets an actual personality. Gotta have standards.
Warning: This article contains episode spoilers and a strong opinion.
How on earth does the show’s producers expect anyone to give half a damn about this show? I don’t get it. Since day one there’s been nothing personally at stake for the main family. The only deaths are fringe losses, people who weren’t even fully fleshed out with a personality, let alone on screen long enough for the viewers to care about their fate. Liza kicked the bucket, so what? Travis’ reaction and Chris’ weird corpse cuddling pretty much made her death a circus side show. Daniel lost his wife, who was only on screen to be the religious figure and when she became problematic for the writers, she died. Even in this episode when we should have genuine concerns about Travis’ survival, it’s not there. Not even remotely. My biggest concern was making it to a commercial to get more coffee before I fell asleep from all that excitement. We got one infected man on screen. He kills people we don’t know. Yawn. Snooze. Wake me when it gets interesting.
Interesting doesn’t mean Madison lords over the yacht crew, nagging every single one of them about this, that, or the other. We get it. She’s a mother. She cares about all these people. There are other ways for her to say, “I love you” without nitpicking every decision they make. I’m waiting for the scene where she follows Nick into the bathroom to wipe his backside. Then on top of this become The Madison Knows It All Show, she’s apparently the only able-bodied person on board who can handle any tough task. Strand is conveniently unwell after his swim—I told you he wasn’t shot; FTWD’s social media people tried for days to make viewers react to his possible injury and all I did was laugh. Daniel is looked over once again because he’s not family. Ofelia could wander around nude with a flamingo on her head and no one would notice her. Nick is grounded because mommy is worried about him. Chris can’t handle his own mental mess long enough not to screw up. And Luis? That guy is still around? Just listen to the dulcet tones of a man in the apocalypse whining about money. Pro tip, dude, money means jack-all now. That leaves Madison to play the cavalry and she’s no Agent May (Agents of S.H.I.E.L.D.).
But why does Madison have to stage a one-woman rescue? Here’s the quick version of the plot: The yacht crew (read: Madison) decides they won’t head south as planned just yet. Madison cashes in a favor from Strand, buying them half a day to find Travis and Alicia. Daniel manages to get information on the pirates from Reed and leaves Chris to watch their captive. With the information, they find a possible location for Connor’s crew. On the pirate side, Travis is locked up by request of Alex, the woman they left adrift in episode 203. She blames Travis for her plight. In the main cabin, Alicia is treated to a dinner she doesn’t get to eat, cooked by Connor himself. He’s called away and Alicia runs into Jack. Jack teaches her how to track other boats for looting. Eventually they concoct a plan to steal a boat and run after the approaching Abigail because Alicia assumes the boat’s early arrival means her family wasn’t taken to shore as promised. Back on the yacht, the crew is hailed by Connor, who tells Reed—his brother—to bring the Abigail in. Madison replies. They agree to a hostage trade. Just then, Chris shoots Reed. But it’s okay, even at point-blank range, Chris doesn’t destroy Reed’s brain. They truss up and head bag the new infected and Madison takes him to do the trade. Alicia hides from the pirates when they look for her. Travis is taken to the docks. The trade works . . . until the bag comes off Reed’s head. Connor flails and is bitten. Travis fights free from the last pirate on the dock. Madison just stands there. Alicia and Jack have a “How dare you” moment before she slides down the side of the dry-docked boat Connor made his home. Madison, Travis, and Alicia return to the Abigail. Jack watches, looking like a kicked puppy.
Now we’ve got no immediate danger for the family. No tension save the meager and trite “family comes first” bull everyone repeats ad nauseam. And they’ve killed off the only season-arcing baddies. Where to go now? Mexico and the mysterious people who still take cash to cross the border? That’s not interesting. That’s idiotic. Any person with half a brain understands money means nothing. So the guy says no he can’t take them. What’s stopping them from just sailing to the Baja coast and skipping the border crossing altogether? This show continues to fail to have a plot. Every time they get close, everything resolves in favor of the yacht crew. I get more excitement watching my turtle kill snails.