Zombie Reviews . . . Dead Inside (2006) By A. Zombie
Rated: NR (Contains violence, gore, adult language)
Starring: Tyler Austin, Cynthia Gerber, Madison Ranne, Noah Wisniewski, and Tommy Walters
Language: English
One never knows what to expect when grabbing something Troma distributed. Given the blurb, it seemed like it’d be okay. Different, at the very least. It’s different, all right. I’m still not one-hundred percent sure what I just watched, but it surely isn’t what the synopsis promised.
The lying, fabricated, fibtastic blurb from Troma’s site reads:
When a group of survivors take refuge in a friend’s home to protect themselves from the Zombie Apocalypse, they must learn to confront and destroy not only the evil lurking on the outside, but also the menace that stalks them from within!
First false statement: Friend’s home. The only people who know each other were involved in a murder, and technically only one of the three knows the truth. Secondly, they learn nothing over the course of their imprisonment in Katrina and Danny’s home. Lastly, the maniac in question settled their score a year before the apocalypse and it’s only brought up at the very end to justify yet another gratuitous death.
Alright, so the copy writer gave the plot an extreme glow-up. What’s the movie actually about? [Spoilers below]
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.
On paper, it’s good. In practice, it’s a mess. The editing obscures the plot unnecessarily during the introduction phase. Dialog is cringe-worthy eighty percent of the time thanks to Officer Bigot’s constant gay jokes just to poke Albert. Jill’s story is so convoluted that we need a series of flashbacks just to have any hope of figuring out who this woman is. The makeup is another Greasepaint and Dirt Special, with little to no time spent on each zombie. It’s like they painted a tarp and made each actor roll for five seconds, then shoved them on set without another glance. Even the sound mix is presented as something spliced together in an old garage with dollar store headphones.
Save yourselves. Don’t be the guy on Troma’s site simultaneously praising and hating this film. There’s no need for brand loyalty when they put out stuff like this and then think people should pay them to see it. If it were edited better, I may be more forgiving. As-is, this is the worst film I’ve reviewed to date. It doesn’t even get a rating. It gets my eternal regret.
The big news for 2018’s Spring television lineup is Fear the Walking Dead‘s cross-over with its parent show, The Walking Dead. As we found out a couple months ago, TWD’s Morgan will hop over to the show’s spin-off, which begins its fourth season on AMC on April 15th.
But how are they going to do it? The shows, as the production teams pointed out when FtWD was announced, happen during drastically different points in the apocalypse. It’s safe to assume Morgan won’t hop in a DeLorean to pay a visit to the Clark family. New showrunners Andrew Chambliss and Ian Goldberg (both from Once Upon a Time) sat with Entertainment Weekly for a few interviews leading up to the season four premiere. During an interview in January, Chambliss said, “As Morgan Jones steps into the world of FTWD, he’ll be continuing the journey he began on The Walking Dead way back in the pilot.” That’s not where his story picks up on the new show, though, and I think this sentiment is all about showing that they plan to maintain the character’s integrity. What about the time gap, though? It’s a huge elephant in the room. Are they willing to skip ahead that far just to fix the show? Photos from the FtWD set show Morgan with a sharpened staff, which could put his personal time line somewhere near “Here’s Not Here” [The Walking Dead ep. 604] where he learned how to staff fight with Eastman. Which leads me to believe Morgan must be the busiest man in the apocalypse if he’s gone from saving Rick to losing his kid, losing his mind, learning martial arts, traveling from Georgia to Texas, then back toward Washington D.C. where he became a Savior for a heartbeat, only to reunite with Rick, join a war, then move on after losing his mind yet again. Yes, this franchise does enjoy their time-jumps, but their new plan stretches reality a bit thin if we’re to buy into the desolation they’ve established as the norm in the universe. These characters just do not have the resources to do so much in so little time.
We have another elephant in the room:
We’re already on season seven and this one’s on season two and that would be crazy. As far as if those characters will ever encounter each other, I mean, they’re in the same universe so it’s completely possible. Geographically, they’re nowhere near each other so it would be somewhat farfetched if group A were to somehow encounter group B unless over the course of many, many, many, many seasons somehow it made sense.
Robert Kirkman, creator of the TWD comics and show producer, said this at a comic convention in Hawaii back in 2016. Here’s the guy who created the universe admitting how far-fetched the notion is, as illustrated above. The thing is, Past Kirkman is right. It doesn’t make sense to cross over any character—let alone Morgan, seeing as they fleshed out the gaps in his story fairly well. When asked to speak about the crossover in a recent EW interview, Kirkman now says, “When we started Fear the Walking Dead, the original idea actually included some things that would eventually tie in with the other show. We wanted to give it a few seasons to find its sea legs, so to speak, and make sure that it stood on its own and provided its own experience. The goal was that eventually, once we had established that, we would find some kind of creative way to tie things in.” Which, ya know, I didn’t grasp that potential when Kirkman shot the idea down in 2016. Everyone in the production was originally very much against combining the shows because of the time gap and location issue.
What changed?
Well, Fear the Walking Dead isn’t doing nearly as well as they hoped. It never found its “sea legs,” as Kirkman puts it. The characters remained superficial icons representing stages in human grief and coping. When the production ramped up the action with the hopes of making the family more interesting by pitting them against each other at the ranch, it brought in even more unnecessary racial tension. That tension then spilled onto the San Diego Comic-Con stage in 2017 when talk show host Chris Hardwick and FtWD guest star Dayton Callie projected some seriously xenophobic behavior whilst bashing the foreign accents of leading cast members. How did the production mop up that mess? First, they never commented on it publicly. Then Hardwick was surprisingly absent from the TWD SDCC panel, presumably so producers could focus the conversation on the somber reality of losing a beloved stunt man and not the antics of AMC’s host. Finally, it seems the only way to truly get past the scandal is to move a minority character from the more popular show and use his deteriorating mental condition to completely change the narrative style with the goal to “kick start” FtWD’s flagging energy and viewer numbers.
Lennie James’ character Morgan isn’t the only newcomer for season four. He is, however, the only new minority character on a show with a well-documented and rocky history with racial issues—such as portraying Mexicans as cultish death-worshipers who ignore common sense altogether, or having Walker drop his Cowboys vs Indians style grudge only after a white man dies to “absolve” all past sins, like the old racist was Jesus or something.
Who are the new characters? Jenna Elfman plays Naomi, an aloof but adept survivor who isn’t exactly an open book. Maggie Grace is coming onboard to play Althea, who has an undisclosed background which gives her an advantage over others in the apocalypse. Taking a slight turn from some of his latest roles, Garret Dillahunt plays soft-spoken and humorous John for FtWD’s upcoming fourth season. Kevin Zegers also joins the cast, but the production remains mum on his character.
Everything the production has planned for season four boils down to using Morgan as a tool to repair the broken things which only cracked further with every attempt to fix them. The linear time line left the plot too predictable, so they plan to “experiment” with the time a little. Having stereotypes for leading characters means fans aren’t surprised in the least when Madison does things like focusing on the needs of one child over the other’s, nor do they bat an eye when Alicia finds comfort in a casual relationship instead of confronting her mother right off the bat because they established Alicia as someone who clings to relationships when stressed in season one. None of the characters change. They don’t grow. Circumstances may force certain behavior, but they always wrap back around to the same people they were three seasons ago. Morgan, on the other hand, is compelling because he changes so drastically over eight seasons. The same could never be said about Madison and her family, and it’s not like good character writing rubs off on the others just because one guy is present. This plan to use Morgan as television-writing duct tape makes no sense from a practical standpoint.
The long road to finding a home in the apocalypse is a tale told literally a thousand times, even in the guise of a family drama. Fans have seen it all. Unless FtWD pulls a rabbit out of their hat, all this rearranging of characters across the franchise will only hurt both shows in the end. The cagy answers from Kirkman, Goldberg, and Chambliss don’t assuage my concerns, either. They’re acting like they reinvented the genre, here, and I just don’t think that can happen with FtWD. Not without them starting over from the beginning.
Family: Review for Ash vs Evil Dead 301 by A. Zombie
Yo, pal. Before you go on, just know there’s episode spoilers ahead.
Finding a space for himself in the world took many, many years. At last, Ash Williams has just about everything he wants: a business to call his own, a house, loyal friends, and fame. Best of all, Evil’s off his back and sulking in its own realm. All that’s missing is a family to greet him at the end of a long day managing Ashy Slashy’s Hardware Store and Emporium. For now, though, Ash relishes in good wishes from the folks of Elk Grove on the evening of his grand opening.
The most magical part of this show is that anyone who saw Ash’s utterly ridiculous commercials, complete with adult “toys” and vulgar jokes, then thought, “Hey, let’s go party with that guy tonight!” Fame really does get a person far in life, it seems. Good for him?
The good life put Ash and Pablo at ease. Kelly doesn’t look so relaxed. Matter of fact, she’s the first to react to the initial signs that something isn’t right. The Ghost Beaters spent their time off from Saving The World duty chasing vastly different interests. Kelly, it seems, is interested in stopping yet another apocalypse. Not sure that’s how I’d spend my time off from thumping drunks at a bar, but okay. To each their own. At least she’s not hunkered in a fallout shelter training to fight by herself. Dalton is there by her side, waiting for a chance to meet El Jefe. What’s his interest in the retired deadite slayer? As the leader of The Knights of Sumeria, Dalton needs Ash’s help to defeat The Dark Ones.
First, they’ve got to defeat the growing problems caused by a known threat hiding right in their back yard.
Patience is a virtue well rewarded. Ruby’s played the waiting game long enough. On the same night as Ash’s grand opening, she tracks down the Necronomicon in the hands of a young woman and the television antiques appraiser she has giving it a once-over on live TV. Violence ensues. Of course. With her prize in hand, Ruby holes up in a motel and performs a ritual in which she ingests blood mixed with Ash’s image in the Necronomicon. When mommy and daddy love each other very much, a stork drops a hellchild in mommy’s cabbage patch. Ash is going to be so surprised.
Not as surprised as he is to be reminded that he’s got a wife, and said wife hid a whole child from him for all these years. Candace Barr has her reasons for keeping Brandy in the dark about her chainsaw-wielding father. Unfortunately that’s the very reason he has to come back into their lives. Evil targets Brandy while she’s cleaning up some creative graffiti at the high school. Her friend Rachel winds up a deadite, using the music room against Ash and Pablo as they attempt to save Brandy. In the end, it takes Candace’s sacrifice and Ash’s creativity with found weaponry to put Rachel to rest. Kelly and Dalton take care of the possessed mascot who nearly cuts the family drama portion of the show short the same instant Ash attempts to be a father at last.
Thankfully this time around Ash isn’t above taking help to wipe out whatever Ruby’s unleashed. The Ghost Beaters reunite, with the new guy on board as well. Brandy is along for the ride, if Ash can even remember to call her by the right name. Time will tell if Pablo’s returned skin art spells certain doom for the team, or if it’ll give them an advantage.
Brandy’s written to mimic her father, only refined slightly and thinking with something more than teenage hormones. There’s bound to be countless sarcastic fights in the episodes ahead. Can you imagine Ash trying to bond while they’re all crammed in the same car? What happens when he tries to console her about her mother’s murder? Tact, thy name is not Ash Williams. It’s not like they can stop to get a break from each other, either. There’s a bounty on Brandy’s head. If they stay put too long, whoever’s around is at risk.
Speaking of heads, I’ve got to say the harp gag is one of my new favorites. Unfortunately the sequence beforehand is somewhat lackluster and has pretty much the same routine as every other “Ash fights an inanimate object” fight. Not every gag’s a winner, not even the tried-and-true ones from the past. Let’s hope they get past using this sequence as a crutch and give us more unique special effects shots as the season unfolds.
Honor: Review for The Walking Dead 809 by R.C. Murphy
Whoa! Slow down, there. Before you read on, be aware there’s copious episode spoilers in this review.
This is the first time a main character’s death hasn’t affected me in any way, shape or form. Which is strange considering I cry at the mere possibility of certain characters biting the big one. For instance, when Carl was threatened by Negan before the Glenn/Abraham murders, I came unhinged, yelling at the TV. How is it possible for the show to suck all the emotion out of losing yet another original cast member?
Chandler Riggs as Carl Grimes – The Walking Dead _ Season 8, Episode 9 – Photo Credit: Gene Page/AMC
Rumors flying around TWD’s decision to preemptively end Carl’s story don’t make anyone out to be the good guy, here. That being said, the production team seems to be going out of their way to ruin what should be a heartbreaking goodbye. The outpouring of love from cast members for Riggs is more touching than the character’s final scene. It takes two full episodes for Carl to pass. The story is told in that tiresome disjoined timeline style they lean on in order to create false tension. Which means we spend every second of the extra time in the extended episode watching scenes which provide no new information because it’s all stuff astute fans figured out during the hiatus. Carl’s time with Judith is sweet. I thought that’d be the tear-trigger for sure. However when we jump back to the present, Carl’s goodbye to his sister is loaded with weird propaganda. The guy who opted to spend his afternoon finger-painting with his sister then goes on to have an adult conversation with her? If the conversation ended when he gave Judith the hat, that would have been the emotional cue the production wanted. Instead we’re forced to watch this loaded speech which only traumatizes the youngest cast member. It’s not touching. It’s uncomfortable and as a parent, I wanted to get Judith out of there way, way before Daryl finally speaks up to offer his protective services.
We can’t talk about Carl’s demise without pointing out one thing which makes me think the production has it out for this character in particular: Red Machete. AMC picks a sub-plot every year and produces a web series which usually leads into one of the two Walking Dead shows. This year’s production brings back The Claimers. Quick refresher: The Claimers came around in season 4, giving us a small taste of how Rick’s crew would react to a Negan-esque character who swept through the apocalypse taking what they wanted no matter who stood in their way. These are also the men who died in probably the most violent hand-to-hand combat scene featuring Rick. Why so violent? They threatened to rape Carl and Michonne. The timing of The Claimers’ return feels wrong. Either someone in the production forgot that these men threatened the outgoing character with sexual assault, or this is an intentional poke at Carl’s character as he’s shuffled out the door in the newest TWD controversy. Honestly? I’m not sure how anyone forgets what trash The Claimers are, let alone forget it long enough to resurrect these men for two webisodes. And all of this to, what, glorify a weapon Rick wields? Don’t we have enough problems with weapon-lust in this nation without using rapists as props to show what an awesome thing it is to be able to maim a living creature?
Red Machete exists solely to build Rick’s mythos as a savior of the apocalypse. It’s this weird piece of character PR, but nowhere near as weird as Carl treating Rick like Jesus during their final scene—a scene which lasts far too long because they splice it with Morgan’s meltdown instead of just letting Riggs and Lincoln take us away with their amazing performances. Yet again we have a moment where the actors are doing remarkable things, but editing and the script fail them utterly. Watching Carl confess his sins to Jesu—I mean Rick, is like watching a train wreck in slow motion. For a long moment, I thought I was imagining things, putting in subtext because I’ve got a hyperactive imagination. But, no. Rick goes on to absolve Carl of his sin. Then Carl tries to rewrite Rick’s past by thanking him for his sacrifices and saying his only job as a father is to love. Gee, who else goes around pardoning others of their misdeeds and spreads love as he does so, no matter the cost to him personally? Not only are Carl’s constant speeches at the end tiresome, but they’re loaded with weird junk dialog and take too long to get to the point. Carl’s plan is suicide so he won’t turn on his friends and family. The longer he delays, the more likely it is he will falter or become too weak to ensure his shot will prevent resurrection. Mindful to the last, it makes no sense for Carl to wait so long, to suffer needlessly, and completely traumatize his loved ones by making them listen as he dies.
As Carl drags out his death, Alexandria’s remaining citizens forget how to survive an attack. Pretty much everyone stuck in the tunnels freaks out at one point or another. Who do they turn to while Rick mourns his son in his newest father fail? Not Michonne. Or Rosita. Not even Daryl is a viable option for these poor panicked people. They look to Dwight to be the new white savior, going so far as to have Michonne lead the charge; she nearly attacks him, desperate to make the Saviors leave. We’ve seen her crumble before, but this wasn’t even a good variation, just an excuse to put another man in charge of the group so the lead character can fall into destructive grief head first.
Khary Payton as Ezekiel – The Walking Dead _ Season 8, Episode 9 – Photo Credit: Gene Page/AMC
Over at the Kingdom, Ezekiel waits for the inevitable end. Gavin’s endless lectures about how good they had it as a team underscores his deepest fear: Negan’s punishment for lieutenants in charge of misbehaving communities beholden to the Saviors. Gavin’s leadership skills kept him one step ahead of his boss’ wrath, but the second Ezekiel steps out of line to join Rick, it’s a domino train leading to the worst outcome possible for a man who just wants to maintain the status quo. Negan doesn’t get a chance to teach his Kingdom-minders a lesson, though. Morgan and Carol, each on a separate mission originally, team up to save Ezekiel. Here’s where we see how they plan to move Morgan off TWD. The plan is apparently just to make him so crazypants, the others insist he leaves. Even Carol, the most pragmatic character on television, is done with Morgan’s uncontrollable need to kill those who’ve harmed his people. On the other hand, this ham-handed method of shifting Morgan from TWD to FtWD gives us an insane death gag on par with the scene I mentioned above with The Claimers and Rick. As always, when the writing fails, I sit back and enjoy the fights. One has to find the silver lining somehow and TWD’s stunt team rarely disappoints.
The episode focuses on Carl’s demise and his quest to wring a promise from his father before the end. What promise? To save their people, give up on the war, and find peace in a stable community. There’s even little fantasies sprinkled throughout to reinforce his desire for the future. All of which is disregarded by Rick in the preview for next week’s episode. So, yeah. I’m really looking forward to watching Rick ignore his dead son’s wishes, just like he ignored him while he was alive. We’ve seen so much character growth over the last eight seasons, I can’t believe it. (Yes, that is sarcasm, readers.)
Rated: NR (Contains adult language, violence, gore)
Starring: Steve Hudgins, P.J. Woodside, Grey Hurt, Randy Hardesty, and Cindy Maples
Language: English
When I grabbed the movie, someone mislabeled this 2010 film as a 2016 release, so I’ve had to marinate on what I saw for a little longer before delivering a final verdict. Six years, believe it or not, makes a difference when debating these ultra-low budget films. A current iPhone in place of whatever they used here would’ve greatly increased the film’s quality . . . and maybe spared more cash for makeup. We’ll get to that in a moment. First, the story.
A fiery object falls from the sky, landing in the front yard of home in a small Midwestern town. The curious family calls Uncle Brad, with his university connections, to investigate. He burns himself on the frigid bucket holding the mystery lump, but has no other issues driving it away . . . for a few miles. Brad makes it to the hospital, but no further. From there, chaos invades their quiet town. A sickness spreads through bodily fluids—and given half the town’s proclivity for cheating, it takes no time at all for things to get out of hand.
It’s not a very original story. So how’d they punch it up? By presenting the entire plot backwards. Each citizen in town who turns zombie gets their own death vignette, starting with poor Joe. Joe’s girl is cheating on him and her sister has the hots for him, but he’s just so loyal to his gal. He’s also a pretty good neighbor, bringing Johnny his truck after finding it on the roadside with mystery stains—he, no joke, asks an obviously ill Johnny if the red stuff on the truck is blood, so be prepared for some interesting dialog choices throughout the film. As the story winds back to the outbreak’s origin, we’re taken on some misadventures with the locals. Brace yourselves for quite a bit of lowbrow humor sprinkled throughout. Any time a man gears up for a joke, assume it’s insulting on fifteen different levels. Just so it’s not completely predictable, the plot does wrap back around to the present for an epilogue of sorts. Format wise, it’s not bad. But the writing itself is . . . not award-winning. It’s an easy script for a small-ish group to shoot in a reasonable amount of time. Could it be better? Definitely. Could it be worse? I’ve survived far worse indie films than this and decided they weren’t even worth writing about, so it has that going for it.
What the film doesn’t have is any makeup. Okay, that’s an exaggeration. The makeup present is just super subtle. With a few exceptions, the zombies rely on fake blood and movements to sell the gag. Within those zombies, only a handful really stand out as astounding creature actors. Playing dead is harder than it looks; kudos to anyone shuffling the good shuffle under all that makeup. There’s no real standard look or movement style. It’s like they let the actors do their own thing most likely just to save time, which leads to some amusing bits. Unfortunately, the camera angle sometimes obscures what’s going on and only half an undead performance makes it on-screen. I suspect this is due to space issues shooting inside real locations and not sets with cut-outs to position cameras “inside” walls for better angles. Paired with whatever they filmed with, it makes some scenes the very definition of “uhm . . . that’s creatively shot.”
Overall, I get what they wanted to do, but the script and budget just didn’t do the concept justice. Hell is Full gets one and a half mangled mandibles out of five.
Zombie Reviews . . . Clash of the Dead By A. Zombie
Rated: NR (Contains adult language, violence, gore)
Starring: Ray Panthaki, Robert Bladen, Wendy Glenn, Ben Shafik, and Eva Solveig
Language: Engligh
Found footage films are not my bag. Just getting that out here as a reminder. The camera movements jerk too much and my rotting brain can’t keep up with the action. Good news, the action in this movie is so slow, the POV movements don’t obscure anything of note. That’s also the bad news.
What are they trying to do in this film? Here’s a quick summary:
There’s money to be made from war documentaries even a century after peace talks ended. It’s not a lot of money, but it’s there. The trick is to make old stories shine anew, and maybe stage a few “surprises” for the hosts to stumble upon to up the ratings—it’s only fraud if one is caught doing something like, oh, making a UFO fly over a well-known wonder of the world. Aiming to cash in, Marcus takes a film crew to the Somme with the goal of digging into some of the more obscure myths. Their expert, Brian isn’t so sure that’s the right path, but he and the others get wrapped up in the moment when they stumble across a chained and submerged soldier’s body bearing a totem said to revive the dead. When darkness falls, the crew unwinds with a little soccer to recreate the fabled No Man’s Zone soccer game during an early WWI Christmas Truce. Another team joins them on the field, but these guys are only after a warm meal. The undead soldiers attack the film crew. Four make it into a tunnel system for safety. Only two make it back out with a possible plan to put the dead back in the ground—they have to bury the body they disturbed. Unfortunately, the dead are all about thwarting that plan.
As straight forward as this seems, it’s a mess. Due to half the cast being behind the camera, it takes most of the film to figure out who’s who, and only then it’s thanks to process of elimination as they keel over. What could be quick action beats to drive tension up is wasted on characters squabbling over past events in a failed attempt to ground the characters in what’s to be an unreasonable situation. Why waste time to ground these characters in the first place? They’re stereotypes, of course, so the dialog has to make them stand out some way or we’ve got nothing invested in these people as their doom shuffles out of Delville Wood. Spoiler: It doesn’t work. This is like watching an army of NPC die in a game.
But it’s a game with decent graphics. The camera work is actually quite beautiful during the earlier parts. All those establishing shots in the woods make for some of the best cinematography I’ve personally witnessed in a found footage horror film. That all ends once the undead enter the picture. Slowly the cameras, our narrators essentially, fail. It takes the notion of unreliable narrator to another level, forcing us to wonder if the first contact moments are real. On the downside, the animation used to establish the camera failures are cheesy, obscure the fights almost completely, and there’s one sequence which may actually be so choppy with the lighting it can harm viewers with epilepsy. We miss the jump scares nine times out of ten due to the cameras jerking around. When they stay still, though, it completely kills the magic.
Why does the magic die? The zombies. They’re awful. Shoddy makeup makes them impossible to take seriously as a threat. Costuming for the old dead is okay, and likely where the focus went during pre-production for costumes/makeup. When one of the film crew is finally shown as a zombie, it’s downright laughable. Guy looks like he smashed his face in a makeup pallet called “DIY Zombie” and the primary color in it is “Old Bruise Yellow.” What could be a great kick-to-the-gut moment dissolves into chortling and hanging onto the couch for support.
Sometimes we see filmmakers trying to do the thing, only they fall short. With a little more money and time, they may have produced something worth a second viewing. As it stands, I’m giving Clash of the Dead two and a half soggy skeletons out of five.
As if this week wasn’t busy enough, what with everyone rushing to see Black Panther approximately a dozen times before Saturday, we’ve still got a trio of zombie shows making their way back to the airwaves starting Sunday, February 25th.
Speaking of Black Panther, there’s a new Walking Dead season eight mid-season premiere trailer rolling before the feature film. By the way, the movie includes TWD star Danai Gurira in one of her fiercest performances to date, so don’t miss it. There are also trailers with about half a dozen other TWD alumni in them right now. I went to see a super hero movie and still had a chance to enjoy footage showcasing some of my favorite zombie-killers. Wins all around.
Here’s the latest trailer to help you wrap your head around saying goodbye to a certain young character:
The Walking Dead returns to AMC this upcoming Sunday at 9 PM.
Opting to go head-to-head with TWD, Ash vs Evil Dead‘s third season hits STARZ on Sunday at 9 PM. This season we’re learning about Ash the Family Man and what lengths he’ll go to in order to protect the family he kinda-sorta didn’t know he had. Evil finds a new target, Brandy, Ash’s daughter, and it’s determined to get to his offspring no matter what. It’ll take some cryptic warnings from Ruby, the reformation of the Ghost Beaters, and a lot of weird supernatural stuff to save everyone from a bigger, badder threat than ever before.
Season three looks like a heck of a ride, doesn’t it?
While still basking in the glow from some of our favorites returning to TV, don’t forget to tune into The CW on Monday, February 26th for the season four premiere of iZombie at 9 PM. Everything’s changed after zombies were revealed to the general public. New Seattle is walled up, but humans still scramble to get inside in order to save themselves from mortality. Zombie life is big business. But as we all know, embracing capitalism with both arms eventually rots society from the inside out. Will it happen quicker in this New Seattle thanks to the ruthless nature of some zombies? Not if Liv and her team can help it.
Mt. Weather/The Black Rainbow: Review for Z Nation episodes 412 & 413 By A. Zombie
Remember Mt. Weather? Talk about a callback to the original mission. Mt. Weather went silent back in season one, triggering the move west for Murphy and his escorts. The gang is tasked once again with infiltrating the government stronghold, only this time it’s not to deliver Murphy over to be poked and prodded. They need the president’s thumb and the last place to deliver any official government orders is none other than Operation Bitemark’s original destination.
Things don’t look promising upon arrival. The President’s motorcade sits outside the security gate, doors ajar. Inside the lead car, the President’s husband rots after being eaten by his Secret Service detail. How will they get inside? Hacking things off the dead is old hat for the gang. Doc’s first idea is to scoop out the FGotUS’ mummified eye to get past the retina lock system—Murphy’s first idea is that they’ve all lost their mind at this point, but he’s proven wrong when the gag-inducing plan works.
For a facility claiming to house the entire remaining government, Mt. Weather is a ghost town. Everyone they encounter is dead, lending credit to the notion that everyone really did die back when Citizen Z first lost contact. Roberta leads them within yards of the New Oval Office’s door before they catch sight of anyone with a pulse. Not that Johnson and Johnson are stellar examples of humanity after eight years living in a bunker playing Secret Service to an audience of one. Yes, after all that careful planning on the government’s behalf, not even their most secure base protected them. Within the first weeks, most succumbed to the virus and remain locked in the facility’s lowest level. Luckily, the President lives. At least the current one. Unfortunately Roberta and crew are not the first to ask for her help. The previous visitor ensured no one else could use the loophole in Black Rainbow’s launch procedure, cutting off both of the President’s thumbs. If only he were more patient and listened to the before mutilating her. The thumbprints to operate Black Rainbow actually belong to the sitting PotUS during the outbreak. And he just so happens to be downstairs, somewhere amongst the growling horde.
With all hands on deck, they descend in the lone functioning elevator. Leading the charge, 10k and Sarge ram through the undead clogging the hallway until everyone is forced to duck into an office for cover. Except Roberta. She’s cut off, retreats to the elevator to regroup, and winds up zipping down to the Omega floor, which isn’t listed on the control panel. While the gang and the President systematically check each individual zombie for the former PotUS, Roberta follows music to a broadcasting room for the Press Secretary of the United States where the teleprompter clearly has a speech ready for the PotUS. The man himself sits backstage, apparently duct taped to a chair moments before he turned. This part is far, far too easy. One wants to call bull. Then the other shoe drops
The sitting President is on Zona’s side. In the argument, she talks Sarge into following the oath she took upon entering military service and they take everyone else captive. Is St. Lilley seriously down with genocide? No. No, no, no. Once she realizes the President intends to let Black Rainbow run as Zona intends, Sarge defies her orders and kills her superior. The others sort out Johnson and Johnson, leaving behind three wicked pissed mad-Zs to chase them out of the facility. Roberta uses the adrenaline from re-killing the President to spark her dream for the next set of orders. Though vague, the vision tells her to find the Washington Monument and the underground facility at the edge of its vast shadow.
Much like Mt. Weather, the Strike Facility below Washington D.C. is inhabited by the dead and nothing more. The gang is focused on the task and clearing the zombies in their path, though there’s a quick joke about Murphy being responsible for the Third Strike as they pass the office where it normally would’ve been launched. For the most part the second episode is pretty somber. Not even Doc’s punchlines sell well when balanced with the revelations finally pouring in about how Roberta came to possess so much knowledge about Black Rainbow.
Turns out Roberta woke twice from the coma. The first time, Teller wakes her to ask for her help thwarting Zona’s plan to launch Black Rainbow. He gives her everything she needs via VR simulations—all the codes, hidden keys, and secret locations are run through the simulation over and over in order to burn it in her subconscious. The lynchpin to trigger the instructions, which will repress during her return to the coma, is the vision of her own flesh burning away under a black rainbow. Things take a turn moments before she’s to sleep again. Zona’s founder comes in to thank her for serving The Reset in such a monumental way. At some point, Teller is compromised and never tells Roberta until it’s too late. She’s not delivering an airborne zombie cure as originally promised. She is The Reset. Now either Teller is still legit, lying to The Founder, and the canisters in her possession contain the cure, or they’ve actually been racing to see which Zona faction can release Black Rainbow first for the entire season.
Inside the Strike Facility, Roberta pretty much checks out as her ingrained directive surfaces. She leads everyone to the control panel where the former President’s thumbprint will start the launch. Before that, she must install the canisters on the drone. Alone. That’s if she can beat Zona’s Mr. Sunshine to the punch. Which of course she does, but not before the red canisters get mixed up. Roberta installs what she thinks are the correct canisters in the drone and is hit with the end of her memories, the moment when Teller and The Founder explain about The Reset before returning her to the coma to finish healing. It spurs her to swap canisters. But before she gets to them, Murphy rushes to save her from an ambush by Mr. Sunshine and is exposed to whatever is in the red canister Teller had Roberta retrieve. In the rush to change humanity’s fate, Roberta winds up locked in the drone after swapping red canisters.
The gang can’t save her this time. Launching without problem, the drone takes her high above D.C. and dumps thousands of mini drones into the air. Her drone, having done the job, crashes in the mountains. Roberta’s last words are “Have mercy!” Are we to believe she mercied herself? Doubtful, but that’d be one hell of a way to wrap up the season. Roberta’s not the only one in danger. The others watch helplessly from the launch bay as the drones spread whatever chemicals made it aboard. Murphy is scarlet from the gas exposure. Doc’s happy-go-lucky nature takes a hike. In a fun last-minute twist, the underlying thing between Sarge and 10k is finally addressed. She opts to spend her final moments kissing the guy whose prowess with weapons kept her titillated since they met.
Like always, the writing team soundly wrote themselves into a corner to round out things for the season. Unlike last season, we’re back to massive-scale global destruction as The Thing To Overcome going forward instead of the fans simply having to worry if a handful of lead characters make it. It’s going to take fancy footwork to make it through alluding to the lead character’s death and maybe poisoning the entire world. I’ve got faith. While this show has an issue keeping the pace, it has no problems making weird, improbable things make sense in the end. Good news is there will be a season five. Syfy renewed Z Nation just before the holidays, making it one heck of a gift for the show’s fans.
How It’s Gotta Be: Review for The Walking Dead 808 By R.C. Murphy
Slow your roll, pal. Just need to let you know there’s episode spoilers in this review. Now you may proceed.
They went through all of that killing just to get to this? We saw this coming. Everything which happens on screen, save one or two surprises, is exactly what Negan told us would happen back when all this grandstanding and one-upmanship began. Who didn’t see two of the three safe havens falling to the Saviors? Hilltop was never, ever under threat. Maggie could’ve locked the gates and shrugged with the same result and more of her people left above ground to tend crops. Yet now we’re going to believe she’s grabbing this metaphorical warhammer Rick dropped and wants to ram it down Negan’s throat? Why? She’s lost enough and despite her part gets a pass. There’s Saviors galore in her prison cell to use as leverage. Hell, give Negan Gregory to use as a pet in exchange for prenatal care or something. Why should the woman with everything to lose be the one to save Rick and his people from his ego?
Who else will pay the price for Rick’s actions? Enid sure isn’t going to be the same after her own ill-considered attempt to recover resources squandered in the secondary attacks—namely fighters. She and Aaron take off for Oceanside with no real plan, just a sense of urgency gripping their throats. Which explains why they think stopping at a distillery to grab a hostess gift is the thing to do instead of, oh, giving them their gun back or, gasp leaving them alone so they don’t cost the women any more lives. They park the truck near the community and wait. Aaron is caught when the women do come for them. Enid shoots first, thinks later, and Natania goes down for the count. This. This is why I think Rick’s influence is the real evil in that world. There’s no way Enid or Aaron on their own would have thought to further harass the women they robbed at gunpoint on their own had they never met Rick. Now one’s a murdered and the other lost his husband in a pointless war.
There’s so much wasted time in the episode. First, flashbacks to Rick’s argument with Carl after saving Siddiq and the revelation that Carl doesn’t even consider the war necessary. Then those over-dramatic slow-mo reaction montages just keep popping up whenever they pleased, dragging the action to a standstill, and all to deliver one gotcha moment. Yeah, Jerry’s car accident works as a surprise. But it would’ve been better had I not been rolling my eyes through the umpteenth such montage this season.
And yes, I yelled at the TV when they dared threaten Jerry’s well-being. I’ve lost one favorite character already, if Jerry goes, I’ll riot.
Everyone’s trapped in their corner of the world by the newly liberated Saviors. Hilltop is stopped on the road by Simon’s team. They hold Jerry’s life over Maggie, giving her an ultimatum. She and the jolly guy bite the big one and then the walker horde clears Hilltop, or Hilltop pays the price of one soul for the honor of returning home unharmed in order to continue farming. One minor character’s death later, they’re home sweet home. Maggie vents her frustration while venting a Savior’s chest. The guy’s packed up with a message for the Saviors and dumped for them to find, triggering Maggie’s dumbest decision to date, which is perpetuating Rick’s war when they’re clearly going to get dead sooner rather than later if they continue down this path.
Gavin’s rounding up The Kingdom’s people to flush out their batter and bruised leader. Ezekiel takes the time to spring a plan. An explosion draws the Saviors away while he drives a bus between them and his people. Everyone flees past Carol, who’s only just arrived from magically saving Rick from himself. Let’s take a break here for a second. I want a legitimate answer as to how Carol and Jerry just so happen to drive by as Rick arrives with Jadis. It makes no sense for them to be driving that close to Sanctuary when they didn’t even have confirmation Rick made it out of the dump because the snipers were gone after the truck did its job. Even if they did hear him on the radio, they still made it to the Sanctuary in record time. Nothing about this makes sense. They waste Rick for two episodes dealing with the Scavengers just for Jadis to order a retreat the instant the Saviors open fire. Then he’s snatched up by Carol like a stray kitten in a storm like it’s the most normal thing for her and Jerry to have their Sunday drive right then and there. By the way, if Jerry and Carol were patrolling, why didn’t they report the Savior’s escape when they heard the firing squad doing its job? This is a frustrating example of the ways the show screws itself up to save a main character so flawed by male ego, he should’ve rightly died five seasons ago.
But back to The Kingdom. Everyone runs for it, leaving Ezekiel behind. Carol assumes he’ll lock the Saviors in. Nope. Ezekiel sacrifices himself to keep the Saviors occupied. After all, he’s the target, not the innocents living in the community. There’s always hope in the wings, however. Morgan lurks outside the gates. Will he save Ezekiel or let the Saviors use him to send a message to everyone involved in Rick’s war? Looks like the former, but it’s hard to tell with Morgan. He’s not alright anymore.
Bombs away! Alexandria’s undergoing some drastic structural changes. Negan’s cool ran out about the time he hid in that trailer with Gabriel. It’s time to send a clear message to these communities and how can anyone ignore the sound of their house blowing up? Trying to get ahead of the damage, Carl orders everyone to evacuate. It’s not a popular call. Michonne is aghast at the idea of giving Negan their community so easily, but Carl is in charge and he says run. While they make his plan work, Carl buys time chatting up Negan. It’s a great scene for the guys. Shows promise for those moments they talked about wanting back at SDCC. But all we’re going to get is this one moment.
For the most part, Carl’s plan is a success. Everyone makes it to cover ahead of the Saviors invading the residential section. Daryl, Michonne, Tara, and Rosita thin out the enemy by drawing a guard post away from the rear gate. Dwight helps them lay the trap and is outed by Laura as a traitor. They take his wounded self to the spot where everyone’s laying low and wait.
Rick makes it back to Alexandria just in time to see it lit beautifully by massive flames. Negan greets him at his house for a chat. By chat I mean fight. Rick takes the chance to run for his life after Negan forces him out a window. Down the street, Michonne turns a Savior into ground beef. Rick hauls her off the bloody mess and she leads him to the sewers where everyone’s hiding. Even Judith is down there, safe with Uncle Daryl.
Andrew Lincoln as Rick Grimes, Danai Gurira as Michonne, Chandler Riggs as Carl Grimes – The Walking Dead _ Season 8, Episode 8 – Photo Credit: Gene Page/AMC
Know who’s not safe? Carl. For some random reason, he shows up at the end with a walker bite to his stomach. We’re lead to believe Carl was bitten while saving Saddiq. So this whole time he’s been dying and hiding it? Sure. Okay. Way to write off one of the major characters in the most anticlimactic way possible. He doesn’t even get to go out in a blaze of glory. We get no real closure with Carl here. He’s going to die in a friggen sewer, probably. The guy who maintained more heart than the rest, even after murdering his mother out of mercy, is written off with a whimper after all that build-up for something with Negan? This smells fishy. How insulting for Carl to die this way, too. And how weird for this death to be so public despite Carl not actually passing in this episode. I found out in a spoiler the next morning because there’s approximately five thousand rumors as to why Carl, a character who is still alive and kicking in the comics, dies now on the show in a lackluster way, tagged onto the very end of the mid-season finale like an afterthought.
So we’ve got that to look forward to when the show return from hiatus. Plus, figuring out how everyone else will move on after this setback in the war against the Saviors. Will anyone be left on Rick’s side to fight this fight?
Zombie Reviews . . . Zombie Wars (2007) By A. Zombie
Rated: NR (Contains zombie violence, gore, and adult language)
Starring: Adam Stuart, Alissa Koenig, Jim Marlow, Kristi Renee Pearce, Billy Hayes, and Jonathan Badeen)
Language: English
Sometimes, just sometimes, I regret closing my eyes and jabbing a finger at the TV to determine what film to watch next. This time around, Fate brought Zombie Wars to my attention. Fate is fickle and persnickety and if they know what’s best, they’ll avoid dropping any such movies into my path again. Yes, I feel betrayed by the universe for not making an executive decision—this film is that painful to sit through.
The premise is, surprisingly, not half bad: Fifty years after the undead rose and swept the cities clean of humanity, the struggling few left alive have banded together in militias or small settlements. Brothers David and Brian, under the leadership of General, take it upon themselves to track a zombie gang who’ve been kidnapping droves of humans then herding them to a farm not far from two human settlements. During a mission, the brother rescue half a dozen women. The heist doesn’t go unpunished. Pushed from their camp by vengeful dead, the militia regroups, but David and newly-rescued Star don’t make it. They’re put into the breeding program at the intelligent zombies’ farm. Eventually word gets to Brian and General. A rescue plan kicks into gear, despite no help from the human village nearby. Inside the farm, the humans who speak out are eaten. Those who behave work on growing food or growing babies. David and Star find an ally, Sliver. But he’s not who he says he is, and once everyone learns the truth about Sliver’s purpose with the undead, the farm’s days are numbered. That being said, what’s captured on-screen doesn’t live up to the potential.
The sudden twist audiences are always begging is right here. Unfortunately, the execution lacks everything, especially a budget. The sets are mostly tents or on location at a rundown farm with little built for the production and Spartan set dressings. Costuming is all straight out of a thrift store, dragged through a hasty apocalypse makeover, and tossed onto whatever actor passed by—the exception is General who gets a stereotypical Tough Woman wardrobe, complete with cleavage for the few scenes where the script tries to make her and Brian a thing. As for the zombie makeup? I’ve seen better at a school haunted house. Some zombies look like they went the DIY greasepaint route. Featured zombies were only slightly better. Some have homebrewed FX appliances to make elaborate wounds . . . which unfortunately looks little better than ye olde classic liquid latex and toilet paper bite marks.
Then there’s the downtime in the script. It takes so long for David to reach out to Brian and General, the rescue squad pretty much literally twiddles their thumbs for more than half the film. Every time we cut back to them, it’s another awkward conversation about how they should do something, or they’ve cram in a scene which is in the end meaningless because it’s an excuse to plant a romance subplot which is eventually resolved, but not in a satisfying way. However, over on the farm there’s this whole intrigue with the supply chain and Sliver’s seemingly magical ability to get whatever he needs without being eaten. The characters spend so much time in so few locations, all the scenes blur into one long, droning memory when looking back. Instead of breaking the action bits into smaller scenes and dispersing them through the whole film, it’s bookended by fighting, leaving the middle lacking tension.
Overall, the film’s potential doesn’t outweigh the execution. I’m giving Zombie Wars two crumbled skulls out of five. This isn’t even a good film to torture friends with after copious drinking.
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.
The big news for 2018’s Spring television lineup is Fear the Walking Dead‘s cross-over with its parent show, The Walking Dead. As we found out a couple months ago, TWD’s Morgan will hop over to the show’s spin-off, which begins its fourth season on AMC on April 15th.
Well, Fear the Walking Dead isn’t doing nearly as well as they hoped. It never found its “sea legs,” as Kirkman puts it. The characters remained superficial icons representing stages in human grief and coping. When the production ramped up the action with the hopes of making the family more interesting by pitting them against each other at the ranch, it brought in even more unnecessary racial tension. That tension then spilled onto the San Diego Comic-Con stage in 2017 when talk show host Chris Hardwick and FtWD guest star Dayton Callie projected some seriously xenophobic behavior whilst bashing the foreign accents of leading cast members. How did the production mop up that mess? First, they never commented on it publicly. Then Hardwick was surprisingly absent from the TWD SDCC panel, presumably so producers could focus the conversation on the somber reality of losing a beloved stunt man and not the antics of AMC’s host. Finally, it seems the only way to truly get past the scandal is to move a minority character from the more popular show and use his deteriorating mental condition to completely change the narrative style with the goal to “kick start” FtWD’s flagging energy and viewer numbers.
Finding a space for himself in the world took many, many years. At last, Ash Williams has just about everything he wants: a business to call his own, a house, loyal friends, and fame. Best of all, Evil’s off his back and sulking in its own realm. All that’s missing is a family to greet him at the end of a long day managing Ashy Slashy’s Hardware Store and Emporium. For now, though, Ash relishes in good wishes from the folks of Elk Grove on the evening of his grand opening.
Patience is a virtue well rewarded. Ruby’s played the waiting game long enough. On the same night as Ash’s grand opening, she tracks down the Necronomicon in the hands of a young woman and the television antiques appraiser she has giving it a once-over on live TV. Violence ensues. Of course. With her prize in hand, Ruby holes up in a motel and performs a ritual in which she ingests blood mixed with Ash’s image in the Necronomicon. When mommy and daddy love each other very much, a stork drops a hellchild in mommy’s cabbage patch. Ash is going to be so surprised.
Brandy’s written to mimic her father, only refined slightly and thinking with something more than teenage hormones. There’s bound to be countless sarcastic fights in the episodes ahead. Can you imagine Ash trying to bond while they’re all crammed in the same car? What happens when he tries to console her about her mother’s murder? Tact, thy name is not Ash Williams. It’s not like they can stop to get a break from each other, either. There’s a bounty on Brandy’s head. If they stay put too long, whoever’s around is at risk.
The episode focuses on Carl’s demise and his quest to wring a promise from his father before the end. What promise? To save their people, give up on the war, and find peace in a stable community. There’s even little fantasies sprinkled throughout to reinforce his desire for the future. All of which is disregarded by Rick in the preview for next week’s episode. So, yeah. I’m really looking forward to watching Rick ignore his dead son’s wishes, just like he ignored him while he was alive. We’ve seen so much character growth over the last eight seasons, I can’t believe it. (Yes, that is sarcasm, readers.)
A fiery object falls from the sky, landing in the front yard of home in a small Midwestern town. The curious family calls Uncle Brad, with his university connections, to investigate. He burns himself on the frigid bucket holding the mystery lump, but has no other issues driving it away . . . for a few miles. Brad makes it to the hospital, but no further. From there, chaos invades their quiet town. A sickness spreads through bodily fluids—and given half the town’s proclivity for cheating, it takes no time at all for things to get out of hand.
There’s money to be made from war documentaries even a century after peace talks ended. It’s not a lot of money, but it’s there. The trick is to make old stories shine anew, and maybe stage a few “surprises” for the hosts to stumble upon to up the ratings—it’s only fraud if one is caught doing something like, oh, making a UFO fly over a well-known wonder of the world. Aiming to cash in, Marcus takes a film crew to the Somme with the goal of digging into some of the more obscure myths. Their expert, Brian isn’t so sure that’s the right path, but he and the others get wrapped up in the moment when they stumble across a chained and submerged soldier’s body bearing a totem said to revive the dead. When darkness falls, the crew unwinds with a little soccer to recreate the fabled No Man’s Zone soccer game during an early WWI Christmas Truce. Another team joins them on the field, but these guys are only after a warm meal. The undead soldiers attack the film crew. Four make it into a tunnel system for safety. Only two make it back out with a possible plan to put the dead back in the ground—they have to bury the body they disturbed. Unfortunately, the dead are all about thwarting that plan.
But it’s a game with decent graphics. The camera work is actually quite beautiful during the earlier parts. All those establishing shots in the woods make for some of the best cinematography I’ve personally witnessed in a found footage horror film. That all ends once the undead enter the picture. Slowly the cameras, our narrators essentially, fail. It takes the notion of unreliable narrator to another level, forcing us to wonder if the first contact moments are real. On the downside, the animation used to establish the camera failures are cheesy, obscure the fights almost completely, and there’s one sequence which may actually be so choppy with the lighting it can harm viewers with epilepsy. We miss the jump scares nine times out of ten due to the cameras jerking around. When they stay still, though, it completely kills the magic.
Things don’t look promising upon arrival. The President’s motorcade sits outside the security gate, doors ajar. Inside the lead car, the President’s husband rots after being eaten by his Secret Service detail. How will they get inside? Hacking things off the dead is old hat for the gang. Doc’s first idea is to scoop out the FGotUS’ mummified eye to get past the retina lock system—Murphy’s first idea is that they’ve all lost their mind at this point, but he’s proven wrong when the gag-inducing plan works.
Much like Mt. Weather, the Strike Facility below Washington D.C. is inhabited by the dead and nothing more. The gang is focused on the task and clearing the zombies in their path, though there’s a quick joke about Murphy being responsible for the Third Strike as they pass the office where it normally would’ve been launched. For the most part the second episode is pretty somber. Not even Doc’s punchlines sell well when balanced with the revelations finally pouring in about how Roberta came to possess so much knowledge about Black Rainbow.
The gang can’t save her this time. Launching without problem, the drone takes her high above D.C. and dumps thousands of mini drones into the air. Her drone, having done the job, crashes in the mountains. Roberta’s last words are “Have mercy!” Are we to believe she mercied herself? Doubtful, but that’d be one hell of a way to wrap up the season. Roberta’s not the only one in danger. The others watch helplessly from the launch bay as the drones spread whatever chemicals made it aboard. Murphy is scarlet from the gas exposure. Doc’s happy-go-lucky nature takes a hike. In a fun last-minute twist, the underlying thing between Sarge and 10k is finally addressed. She opts to spend her final moments kissing the guy whose prowess with weapons kept her titillated since they met.
Gavin’s rounding up The Kingdom’s people to flush out their batter and bruised leader. Ezekiel takes the time to spring a plan. An explosion draws the Saviors away while he drives a bus between them and his people. Everyone flees past Carol, who’s only just arrived from magically saving Rick from himself. Let’s take a break here for a second. I want a legitimate answer as to how Carol and Jerry just so happen to drive by as Rick arrives with Jadis. It makes no sense for them to be driving that close to Sanctuary when they didn’t even have confirmation Rick made it out of the dump because the snipers were gone after the truck did its job. Even if they did hear him on the radio, they still made it to the Sanctuary in record time. Nothing about this makes sense. They waste Rick for two episodes dealing with the Scavengers just for Jadis to order a retreat the instant the Saviors open fire. Then he’s snatched up by Carol like a stray kitten in a storm like it’s the most normal thing for her and Jerry to have their Sunday drive right then and there. By the way, if Jerry and Carol were patrolling, why didn’t they report the Savior’s escape when they heard the firing squad doing its job? This is a frustrating example of the ways the show screws itself up to save a main character so flawed by male ego, he should’ve rightly died five seasons ago.
Rick makes it back to Alexandria just in time to see it lit beautifully by massive flames. Negan greets him at his house for a chat. By chat I mean fight. Rick takes the chance to run for his life after Negan forces him out a window. Down the street, Michonne turns a Savior into ground beef. Rick hauls her off the bloody mess and she leads him to the sewers where everyone’s hiding. Even Judith is down there, safe with Uncle Daryl.
The sudden twist audiences are always begging is right here. Unfortunately, the execution lacks everything, especially a budget. The sets are mostly tents or on location at a rundown farm with little built for the production and Spartan set dressings. Costuming is all straight out of a thrift store, dragged through a hasty apocalypse makeover, and tossed onto whatever actor passed by—the exception is General who gets a stereotypical Tough Woman wardrobe, complete with cleavage for the few scenes where the script tries to make her and Brian a thing. As for the zombie makeup? I’ve seen better at a school haunted house. Some zombies look like they went the DIY greasepaint route. Featured zombies were only slightly better. Some have homebrewed FX appliances to make elaborate wounds . . . which unfortunately looks little better than ye olde classic liquid latex and toilet paper bite marks.
Then there’s the downtime in the script. It takes so long for David to reach out to Brian and General, the rescue squad pretty much literally twiddles their thumbs for more than half the film. Every time we cut back to them, it’s another awkward conversation about how they should do something, or they’ve cram in a scene which is in the end meaningless because it’s an excuse to plant a romance subplot which is eventually resolved, but not in a satisfying way. However, over on the farm there’s this whole intrigue with the supply chain and Sliver’s seemingly magical ability to get whatever he needs without being eaten. The characters spend so much time in so few locations, all the scenes blur into one long, droning memory when looking back. Instead of breaking the action bits into smaller scenes and dispersing them through the whole film, it’s bookended by fighting, leaving the middle lacking tension.