Unfinished Business: Review for Ash vs Evil Dead 304
Unfinished Business:
Review for Ash vs Evil Dead 304
by A. Zombie
Whoa, pal. Watch out for episode spoilers below.
Now may not be the right time for Ash to go on some weird bonding trip with Brock, but it’s happening. The duo vanish from Ash’s house in the midst of bagging parts from the reanimated body pretending to be Brock, but wasn’t Brock because Brock’s ghost has no idea Brandy exists until Ash vent-rambles to his father. Are you confused yet? Welcome to the Evil Dead fandom, we subsist solely on confusion and fake blood.
Ghost Brock and Ash hop back to 2012 via the elder’s memories. Back when Ash’s interests include laying low and not much else, Brock has a visitor insisting he must speak to the savior. The adamant Knight of Sumeria has the missing Necronomicon pages which he must give to Ash. Brock’s having none of it, telling the guy to get going and that Ash wants nothing to do with the demon stuff, it’s already ruined his life quite enough. In typical Williams fashion, Brock opts to nut-shot the Knight instead of escorting him from the hardware store. Which is how Brock winds up with a dead man in his cellar. This guy just boards up the door, locks the building, and never turns back. This family doesn’t know how to deal with anything. Lock up a dead Knight, who isn’t actually dead by the way. Leave Cheryl’s room untouched like some weird shrine. Ash can’t even deal with Evil the right way, constantly butting heads with anyone who shows him which path to take. If coping skills were oxygen, they would’ve asphyxiated long ago.
On the bright side, since the Knight is still in the basement, that means Ash just has to break into his own cellar and pickpocket a corpse. And fight an evil wall painting with what appears to be a mystical television of sorts showing Brandy’s friend in distress. Or as we call it, just another day at Ashy Slashy’s Hardware Store and Emporium.
On the flipside, the mayhem in the basement sends the Necronomicon into fits. Ruby arrives home in time to receive a warning from a servant to The Dark Ones. That thing in the basement? It’s a portal, and The Dark Ones are about to use it to make their way to this realm. The only Knight Ruby knows about is Dalton. He’s still reenacting Vlad the Impaler’s greatest hits, so Ruby jaunts over to the cabin for a little chat. Dalton’s not the one who triggers the portal, of course. In a bid to still appear powerful, the fool brags about finding the dagger. We don’t have to worry about that problem 
again, before Ruby’s spell to push back Evil broke, Dalton blows off his head.
Kelly’s in more danger now, and the punches just keep coming. It doesn’t take long to figure out where Pablo went after running down Dalton. With Brandy tagging along to keep her safe, Kelly’s truck is rammed by deadite Pablo on a motorcycle. He’s intent on dragging Brandy through the windshield. By some miracle, the ladies fight him off long enough to get back to Ash’s. Kelly takes a bite to the leg, but it doesn’t stop her from wanting to capture and cure Pablo. I’m not so sure her feelings will be the same after the bite on her leg transforms into Pablo’s mouth.
The good thing to come out of Ash’s trip down memory lane with his father is Brock knows every woman in Elk Grove. When Ash needs to find Ruby’s new place, it takes Brock all of a second to think up the location for the real Ms. Prevett’s house. The woman Ash seeks isn’t home. He does find unfortunate hitchhiker Natalie upstairs handcuffed to a sink. She’s singing to a baby way, way older than what we saw in the last episode, but just as terrifying. Being who he is, Ash assumes he can just chainsaw his way through the handcuffs, not fully comprehending why Natalie keeps gesturing for him to be quiet. When he finally gets the gist, his robo-hand shorts out, leaving he and Natalie attached to the sink, facing off with a shrieking hellspawn. Ain’t fatherhood grand?
The downside to the short episodes is when the action gets going, I get greedy and want more right away. This episode leaves every plot thread except Brock’s flapping in the wind. Waiting a week to find out what happens is cruel, but this show’s magic would be lost if they had extended episodes. Admitting the truth doesn’t mean I have to like it, though.
That’s the purpose of “The Key” as an episode, to fully illustrate how far this slice of humanity has fallen under Rick’s umbrella. While the men butt heads to see who’ll come out as the Supreme Leader, a group of women participate in a negotiation which will be the sole reason any of these people live to see another generation through adolescence. Not only are the women leaps and bounds ahead of the men as far as future preparations go, but they master the art of compromise with minimal shouting and only one daft, fear-driven, outburst. The initial meeting with Georgie, plus her associates Hilda and Midge, isn’t the best first impression because Maggie reacts to the offer to barter like Rick reacts to anyone presenting themselves as possessing a better plan for the future—everyone’s armed, on edge, waiting for the other shoe to drop without actually hearing the words coming from the other party. When Michonne puts the brakes on back at Hilltop, remembering what Carl asked of them, that’s when reason wins the day. The future must have a position at the council table, otherwise what are they fighting to protect? Are the people they’ve lost along the way not worth building something more than a temporary encampment from which one fights day in and day out? If they continue down this path, the future leads toward Mad Max territory, and that’s just not what some of these people want. So they’ll fight their own way. It’s about time. Maggie ends the episode radiating hope. That’s what Rick dropped down the road, along with a heap of the integrity which made him a compelling leader at the beginning. Without any hope, his people trudge to the next catastrophe, mentally saying their goodbyes because Rick’s plan has claimed too many lives to count at this point—starting at the quarry and up to now where we’ve got just three characters left from season one. With Georgie’s help, Maggie may just be able to salvage the three communities this mad warmongering tore apart. It’s nice to see hope return to this show. Refreshing, even.
Wound like a top shot off a drill, Rick can’t stay at Hilltop after he arrives and inserts himself into the perimeter patrol in a nearby town. He’s the first to spot the Saviors on the move, yet holds off alerting the others to chase Negan. Of course he does! I’ve got to give it to them, though, it’s a fun sequence altogether. And a bit ridiculous. Rick’s just gonna Rick no matter what at this point and all that’s left is enjoying the weird trouble he gets himself into every episode. The car chase sets up the unhinged action once the guys get to the basement scene rather nicely. I’m not sure I’d believe Rick would fight a guy in the middle of a flaming walker horde without him first chasing the guy down like he’s back in his sheriff’s uniform. His mindset is right there in his eyes in the close-ups during the chase. If Negan saw Rick’s face then, he wouldn’t have goaded him once they got inside the building. Dude’s dropped all his marbles and everyone else trips over them, yet again.
Negan’s survival spells trouble for a certain lieutenant with the gift of gab. Simon wastes no time campaigning for himself once the Saviors roll out of Sanctuary toward Hilltop. When Rick takes Negan out of the caravan, Simon is slow to respond, hides several smirks. The entire time, Simon jaws at Dwight, working him toward his side, a side where the Saviors just move on. Move on is slang for kill them all and find new people to harass, by the way. Dwight’s slow to the new lingo, having been with the Alexandrians for a little while. It’s not until they meet with the Saviors post helping Simon cover Negan’s tracks after he disappears from the car wreck that he realizes, this guy does not have the same agenda as I. Well, you think? Simon’s days are numbered, but that number is indefinite since Negan’s sitting in the front seat of Jadis’ car with a gun to his head.
Back to our victim. Annie unfortunately never meets up with her online sweetheart. Once she is in the city, Bruce the coyote shows his hand, murdering the girl to sell her brain on the black market. She’s a scrapper, puts up a bit of a fight, leading the killer to leave part of her brain behind—just enough for Liv to make milk chocolate brain-bons. This woman went through life falling in love with every other person, always assuming they approached her with good intentions. That’s rarely true, as shown by how easily Annie fell into Bruce’s trap instead of finding someone like Renegade, who so far appears to be the genuine article, someone who just wants to help. Annie’s brain makes its way to Romero’s, where Don E purchases it to feed their high-end clients, along with a mime’s brain to mix things up a little.
The undead are reaching the desperation point with the low brain supply. Fillmore-Graves suspects there’s only four months of brains on-hand for the expanding New Seattle population. Legal sources ae slim. Illegal sources can’t bring them in fast enough without garnering interest from the government. As it is, Clive suspects there’s a serial killer connected to Annie’s death, bringing them that much closer to pinpointing the cause as a black-market brain trade. Cracking down on border crossings isn’t dissuading the desperate from entering the city for what they see as their only chance to thrive—for example Annie witnesses an execution when they pull up to the gate. Desperate for a hand-up against the coyotes, Chase Graves appeals to Blaine’s business sense for aid. If Blaine delivers Renegade, he gets to run his businesses without interference. It’s too good a deal to pass up. By the episode’s end, Blaine locates, and devours, one of Renegade’s clients. Yet again proving he’s one of the most determined people in this universe. Finding the woman herself won’t be as simple. Liv can’t even locate her again after revisiting the laundromat and has to wait for Mama Leone to find her instead to ask about the other coyotes in town.
By far the worst part of the episode is Liv’s constant, “Oh, this is the guy for me. He’s amazing!” On the flip side, this easy-going, happy Liv pumps life back into this character. She’s hanging with Peyton again. They harass Ravi into a makeover montage, which brings such a smile to one’s face, their nose might just crack off. Not saying it happened to me, but I heard a friend suffered such a sad fate. Ahem. Anyway, I’m thankful we get another crack at this version of Liv. She’s the Liv we’ve been missing and didn’t realize it. Although she never actually finds it, Liv drunk on love is by far the best Liv. That truth makes it even harder to accept the production’s decisions to kill everyone Liv’s fallen for since the beginning. Give us what we want, people. Content Liv without the angst for a little while longer, please. And more montages.
In the wake of Negan’s fiery revenge in Alexandria, the village’s people are on the run. Saviors hold blockades on all the roads. The only reason Daryl gets the Alexandria survivors to the halfway point is because none of these oh-so intelligent souls think to look under the freeway they’re guarding. In order to ensure his people make it to Hilltop unscathed, Daryl’s willing to listen to Dwight when the reformed bad guy suggests they pass through the swamp, declared too dangerous to pass by Negan and therefore unguarded during the lockdown. So long as everyone keeps up and cooperates, they’ll get there in one piece. Oh and if we ignore Tara’s existence since she’s still on this whole “Kill Dwight even though he’s useful” kick. She’s so focused on him, Tara is willing to turn away from a walker-filled swamp where her friends are clearing a path in order to yet again threaten Dwight, and yet again fail to follow through. The posturing is boring and isn’t helping with Dwight’s story at all. If anything, it’s making him repeat the same tired redemption story, which isn’t nearly as interesting as his actions. These writers will always talk a plot to death long before they let the characters do what they need to do. Show, don’t tell. I’m not sure how such a basic thing escapes this writing team, but here we are.
We’ve finally caught up with Dr. Carson and Gabriel after they slipped free from Sanctuary with a little inside help. The infection burning through Gabriel’s veins is attacking his vision. Worse yet, the stolen car is dead and they’ve got no clue where they are in relation to Hilltop because the navigator can’t even read a map an inch from his nose. Following God’s plan, as detailed by a man whose brain bakes itself with each step they take, leads the duo to an abandoned home. Somehow while looking suicide in the face—the homeowner failed to make contact with other survivors and ended it long before the men arrive—Gabriel still thinks his God wants all of this to happen. It’s hard to deny that when so many things go right for them thanks to Gabriel’s vague feelings about their destiny. The much-needed antibiotics, an impossible shot to save Dr. Carson from a walker, the hidden treasure of car keys and a map are all lovely red herrings leading us to think maybe, just maybe Gabriel is blessed by an otherworldly power. He’s not. He’s just lucky and manages to use it all up before they drive away from the house. That fortunate gunshot drew the Saviors. Gabriel’s brash belief leads Dr. Carson to fall into the same fallacy, only what he assumes is a sign from above is just another way to get dead faster by assuming everything will go right. No matter how many times he’s fallen from his faith, Gabriel always bounces back. I’m not so sure that’ll happen this time. He’s well and truly broken, covered in blood from a man who he thought would be the savior everyone needs during this trying time.
While on a hike, Neil is bitten by an aggressive bug. The wound festers, no matter how much he cleans it. Neil hallucinates, falls into a fugue state, and suffers intense nightmares. A few times he goes into town, inspired to reach out to Vinny, but she ghosts calls made from unknown numbers. The infection on Neil’s arm spreads. His lucid moments are fewer and fewer. A shift in his appetite leaves him scrounging for bugs. Unaware of any changes, the villagers invite him to party with them. He leaves with a woman at his side . . . then wakes with her bloody hand, only the bloody hand, in his tent. Neil’s appetite grows unchecked. Anytime someone comes to help him, he attacks. The nutrition gives him blessed few aware hours to try and reach Vinny, pushed by visions of their relationship.
For the budget, this film is beautifully shot—with a few exceptions toward the end where the quality intentionally degrades to heighten the weight of Neil’s transformation. The overly-shaky attacks aren’t how I’d handle that transition, but it still works for this story. The opening sequence is mesmerizing, making the audience forget for quite some time that they’re watching a horror movie. They play a lot with the overall tone of the film. It’s very much a romance at the get-go with the gorgeous POV shots as Neil works, then shifting into the break-up scene after, followed by the raucous bachelor party. Even Neil’s decision to bolt to the middle of nowhere fits a romance outline. Everything changes after the bug bite. Gone are the crisp landscape shots. The world is unfocused. Neil’s attention shifts down, down, down as his appetites change, taking the camera with it. It’s rare to see this much attention in a genre film this size.
Special effects and makeup are the weakest link in this movie. Neil’s wounds are simplistic and don’t stand up to close-ups. There’s a moment where he angrily rakes the flesh off his arm, except the makeup is obviously nothing more than greasepaint over liquid latex so it’s not graphic, as intended, but more like we’re watching the actor clean up at the end of the shooting day.
Keeping with the trend that Liv only eats the worst people in Seattle, this week she’s stuck with the brain from Sandy Brinks, a rude, old white woman whose hobbies include casual racism, sexually assaulting her staff, verbally abusing anyone with a heartbeat, and pickling her liver. She’s the kind of rich person who lets a golf ball fly downrange without notice. Ironically, it’s a golf ball through the eye which puts Mrs. Brinks’ mean spirit down for good.
Brinks’ brain leads Liv to alienate everyone in her social circle. There’s not one person she doesn’t talk down to, including Brinks’ driver during an emotional interrogation. The woman sexually manipulated him, much to his shame. Despite that information, Liv blurts out that he took money to continue the relationship, therefore making him a WHORE. Yes, she says it in capital letters, like a scarlet A she intends to brand on the man’s forehead with the ferocity of her accusation. Which shouldn’t have come as a surprise given how the show’s handled sex workers in the past, but this isn’t a willing adult doing his job as intended. His continued arrangement with Brinks took advantage of his position on her staff—textbook harassment. In the Court of Liv’s awfulness, that seems to translate to real consent, not prolonged coercion. Someone needs to take a long look at the way they view the world and how it keeps shoving problematic language in Liv’s mouth.
The story line with Mama Leone has the most promise for this season. So many things have gone wrong in Seattle since Liv turned Z, it feels like there were no good people left, or those who claimed to be good were too easily influenced by the promise of power, like Major. Yet when we get to the laundromat with Ravi, Liv, and the sick boy, the show’s tone changes drastically. Liv is remorseful in ways she rarely expresses unless confronted. There’s no one lurking for a gotcha. It’s just a group of people doing the best they can to help those who have no voice in their new world. Please let this be the swing in Liv’s life we’ve waited for. I’m all for Liv joining the resistance, fighting the zombie establishment. The base is laid, what with Liv and Major on the outs again over their differing opinions on how to handle to handle integration between humans and zombies, not to mention Major’s seeming lack of concern about humans suffering under the new regime. Peyton will be a good ally should Liv go down this road, with her insight into what the Mayor has planned, as well as glimpses of policy from Fillmore-Graves.
Without warning, the dead return to attack the living. Missing not one beat, Mike and Scott band together to stay alive in the face of so many horrors. It’d be easier to go on if Scott knew whether his girlfriend Natalie survived the initial undead wave. Nevertheless, there’s nothing they can do about being separated. Scott can either move on, or get bit by one of the numerous adolescent zombies who keep tripping him up morally as they search for supplies and a viable car. Along the way, Mike and Scott encounter a few zombies whose backstory we learn in vignettes. There’s also two other survivor groups nearby, but one doesn’t play well with others. Especially when those others happen to shoot two of their members because they’re loudly harassing a zombie woman. Everything changes when Terrance, from the good group, tries to boost Mike and Scott’s car. They talk things out and decide to pool resources, which includes a guaranteed roof over their heads and more living people to talk to. Lo and behold, Natalie’s living with the good group, along with half a dozen others. There’s not much time to bask in their reunion. When the Crazies find Mike and Scott a few days later, they hatch a plan to get revenge for their fallen bros.
Technically, the film shows its budget big time. The digital effects are as basic as one can get. Zombie makeup consists of artfully splattered fake blood, with little more attention brought to the clothes—which were probably made in bulk by just slashing random holes in thrift garments and dousing them in blood. Also pretty sure the sound was caught on one boom mic or the camera’s mic because for in-car scenes, you can only really hear whoever is closest to camera. Thank goodness for subtitles and the shining few actors animated enough to sell their lines despite shoddy sound recording.
There’s no toe-dipping when it comes to introducing the audience to New Seattle. The episode opens with a look into the city’s brain processing plant. Up close. In full, glorious detail. Some of the show’s best cinematography went into making those brain tubes look as appetizing as possible. I mean, for us zombies, that is. The humans working in the processing plant aren’t as impressed by the product they produce. Matter of fact, the Dead Person of the Week spends this opening scene lamenting about the new world order within the city. Guess having the only meaningful employment come in the form of basically creating Soylent Green gets to people. The divide between living and reanimated humans is wide, only helped by Filmore-Graves’ policies, including one stating only the living can work in processing plants like the one employing Clint Hicks before his at-work demise inside one of the large brain grinders.
The poorly handled social commentary aside, the plot for this episode is just not that thrilling on the surface. The murder turns into an allegory for abused gay teenagers. On the subplot front, we’ve got a city on lockdown, with death penalties in place for certain behaviors, such as scratching a human to turn them due to brain shortages—likely a fabricated shortage since Filmore-Graves hands out brain tubes to their staff like it’s candy. It only gets interesting when Ravi hits the screen, giving fans a look at how non-zombie he is after that cliffhanger last season—there’s a small catch in the form of “monthlies” where he randomly Zs out and chows down on brains. Then they killed the excitement of a hybrid by having Ravi eat a naturalist’s brain, leaving him to traipse around nude. Like Ravi needs to be a laughingstock at every turn to justify his continued existence, or something. Peyton and the living in higher-ranking positions are being treated as checked boxes, as demonstrated during a tense dinner with the new mayor. Blaine is Chase Graves’ lapdog in return for a lot of looking-away when it comes to running his businesses, which surprises absolutely no one. Nor will it surprise them when Blaine eventually tires of the yes-man routine and vies for control of the city via brains, violence, or hostile takeover. Possibly a combination of the three.
Angus gets a little help from Dino, his former enforcer who turns to working for Blaine in the meantime. Once free from his watery nursery, Angus demonstrates just how bonkers he is, repeating segments of Blaine’s tirades against the ruling class in New Seattle like scripture. Dino pays the price for aiding a murderer, leaving an out-of-his-mind Angus to wander the city as he pleases. A theater, converted to a church for zombies, catches his attention. Now begins the reign of Angus the Saint. I guess. This is an unfortunate story line on top of several plots involving white men being the absolute worst people in a city which is given the chance to start over, but it’s more of the same tired bull.
The Saviors are in a slightly better position now that they’ve reclaimed Sanctuary from the dead. Time has come to get their house back in order, and Negan wastes no time dispersing his lieutenants to the communities—except Hilltop, which will require a significant show of force to bring to heel. With so much in the air, one man feels it’s his time to shine. Simon demands they make examples of everyone who went against them, starting with the Scavengers. For a hot second, I thought Negan would pop a new hole in Simon’s head and go on with his afternoon. No such luck. Simon doesn’t get his massacre order, just a command to stick to their typical M.O. to reaffirm relations between the communities. Since all the men on this show are so predictable, it’s no surprise when Simon takes offense to Jadis’ stoicism, ordering his men to wipe out the Scavengers. The best part? Simon thinks he can hide it. Boy, that’s not going to be a pretty scene when Negan hears the truth.
On the week of International Women’s Day, we have yet another example of Rick’s machinations leading to undue turmoil within the women-led Oceanside community. Last episode, Enid shot Natania. This episode, they deal with the fallout from that murder. A murder Enid insists she was forced to commit. But, uh, no one told her to go harass these women again. For what? They don’t have the weaponry needed to fight Negan’s army. Enid and Aaron barge into this community with nothing to bargain with, blood on their hands, and the bold demand that these women become cannon fodder in an ego war between Rick and whoever’s in his way this week. To add insult to injury, after Cyndie spares their lives, Aaron plans to subvert Oceanside’s commanders by manipulating fringe members, convincing them to join the fight. Leave these women alone, already. They’ve done nothing to anyone, but over and over again they are forced to sacrifice their well-being to meet men’s demands. This isn’t entertainment anymore. It’s watching some dude’s ego waft around on screen with a soundtrack and occasional explosion.
The war continues despite Carl’s plea. I fully believe Negan would’ve at least signed a temporary cease-fire in the kid’s honor. JDM twisted that knife all over again with Negan’s sincere condolences to Rick. Then Rick blew it off and I found a whole new flavor of hate for the character. So cool that I’m learning new things about myself when it comes to this show eight years down the road, huh? Too bad it’s only confirming that if the main character died, it’d improve my opinion of the show a thousand-fold.
A year prior to the world going to the dead, Jill’s guy calls it quits in the middle of a crowded diner—with patrons randomly quoting other genre films as the scene unfolds. It’s not such a good idea because Jill’s not quite right in the head, seeing monsters everywhere she looks. This woman also just happens to have a serial killer’s shrine to her now-ex. Jill takes her revenge, with the guy’s kid in the house. Fast-forward a year. Danny’s mother Katrina has moved on after the murder. Gerry fills an essential gap in their lives. But just like her former husband, this one dies under mysterious circumstances after something eats their babysitter. The mourning family isn’t alone for long. Albert, a stranger, rushes in the front door having just witnessed his father being attacked by the dead on the road. Elsewhere, Jill’s going through undead hell with her lover. She makes it out of their home in one piece, sans lover and pet, only to find a zombie in her car. Jill run and runs and runs, eventually landing at Katrina’s—at first the editing makes it look like they’re neighbors, though. Outside, an officer naps in his car, awakened only when crap hits the zombie fan. He flips his lid and makes a run for shelter—Katrina’s house, of course. From there out, the group tries to make the best of it. Officer Dearborn’s courage flatlines, triggering their safe haven’s eventual downfall. Jill is bitten on a supply run. On her death bed she admits the truth to Danny about his father’s murder. He shoots her and here come the zombies. Albert and Katrina do their best to survive on the run, but she doesn’t make it. The boy and Albert continue on, meeting another pair of survivors making the best of the apocalypse along the way. Just when things look bleakest, Danny and Albert are saved.