Walkers' Ready Slaughtered Stiffs

TV Review: THE WALKING DEAD – THE COMPLETE FIRST SEASON
15 - 292mins - 2010
Developed by: Frank Darabont
Based on the comic book series by: Robert Kirkman, Tony Moore and Charlie Adlard
Executive Producers: Frank Darabont, Gale Anne Hurd, David Alpert, Robert Kirkman, Charles H. Eglee
Starring: Andrew Lincoln, Joe Bernthal, Sarah Wayne Callies, Laurie Holden, Jeffrey DeMunn, Steven Yeun, Andrew Rothenberg, Chandler Riggs, Irone Singleton, Michael Rooker
____________________________

Genres carry with them certain weights of expectation. For instance, tradition dictates that comic books are action-packed and visually resplendent creations which stretch the limits of the imagination with all manner of supernatural and superhuman heroes and foes. Likewise, zombie horror flicks feature an abundance of limb-trailing, flesh-chomping, gore-splattered set-pieces which turn the stomach and jangle the nerves. “They’re coming to get you, Barbara...” and all that jazz.

Being a zombie horror show based upon a renowned comic book series, AMC’s The Walking Dead had twice the responsibility – nay, thrice, with feature film director (and ace adaptor) Frank The Shawshank Redemption Darabont at the helm – to kick some major ass. Things certainly started promisingly in the epic pilot “Days Gone Bye” (#1.01), which sees our protagonist, Georgia sheriff deputy Rick Grimes (Andrew Teachers Lincoln adopting a US twang) awaken from a coma in hospital only to find everyone has deserted him and everything has gone to hell, a la 28 Days Later. Alas, as this promising series progressed, I must confess to being *slightly* let down.


Regulars to The CR@B Shack will know of my near-fanatical appreciation of George A. Romero’s Living Dead saga (see my reviews of Night (1990), Land, Diary and Survival of the Dead) – to say I was pumped for a weekly dose of undead post-apocalyptic carnage is an understatement. And yes, The Walking Dead does look amazing, with the washed-out colour palette perfectly complimenting the desolate wasteland which once was a bustling hive of humanity, and the cinematic special effects are leagues above what a small screen budget would normally accommodate. But season one still failed to sate my gorehound appetite for a number of key reasons.

I am all for directors underlining their visual glamour with satiric depth – Romero peppered all his horror films with stinging societal critiques (decaying zombies = decaying society) – but The Walking Dead seemed far too wrapped up in the human drama aspect, much to the detriment of any legitimate chills. For instance, “Guts” (#1.03) sees Rick join a small group of survivors in Atlanta , only for T-Dog (Singleton) to be viciously pummelled by racist hick Merle (Rooker). In “Tell It to the Frogs” (#1.04), survivor Shane (Bernthal) attacks an uncouth wife-beater to within an inch of his life, while “Vatos” (#1.05) sees a group of hostile city survivors kidnap Greg (Yeun) only for both parties to learn that appearances can be deceiving. Surely, when the world has come to an end, these people have slightly larger concerns than the colour of a man’s skin?


Furthermore, at a mere six episodes, this premiere season was simply too darn short – there was a lack of flow as plot points came to the fore then disappeared completely (leaving many to remain wide open), and because of this the vague story arc – initially of Rick finding his wife (Callies) and son (Riggs), then of the continued survival of the camp – suffered greatly. I’m not au fait with the source story, but these six episodes did not feel like a complete series with any sort of conclusive element.

As the series ends, Rick is still completely clueless to his wife’s awkward love affair with best mate Shane, Merle has escaped in the group’s van never to return, lone wanderers Morgan and son Duane haven’t made it to the camp, Jim’s (Rothenberg) prophetic sunstroke delusions have led to no major revelations, and – most disappointing of all – the decision to leave the forests and convoy to military base the CDC in the hope of finding a cure in “TS-19” (#1.06) granted us a wholly anti-climatic finale which wielded absolutely no kind of breakthrough to the pandemic whatsoever.

I appreciate that real life doesn’t always provide neat answers to every single question, and people do pop into your life then leave just as suddenly, but serialised television requires such conclusions to satisfy the audience; otherwise why do we return week after week if we’re just left hanging? Granted, a second season has been confirmed (to consist of a much more appealing 13 installments) and some plot points will be picked up again there, but a season should be able to stand up on its own as a complete entity, and unfortunately, in that respect, The Walking Dead’s opening season shuffles and lumbers and eventually loses its legs altogether.


In a CR@B Shell: Less a horror and more a heavy-handed comment on society which is so concerned with making humankind look like the villain that it fails to capitalise upon the real rotters. The Walking Dead has promise, but as a zombie nut, I was hoping for more bloody carnage and less survivalist drama.
aaaaa

Wail of the Weeping Woman

DVD Review: DAMNED BY DAWN
15 – 81mins – 2010
Story by: Brett Anstey, Russell Friedrich, Rob Townshend
Screenplay by: Brett Anstey
Directed by: Brett Anstey
Starring: Renee Willner, Bridget Neval, Dawn Klingberg, Taryn Eva, Danny Alder, Mark Taylor, Peter Stratford
_________________________

Every week you'll witness a smattering of schlocky new genre releases dotted around the lower echelons of supermarket's DVD charts. Be they cheap cash-in sequels (such as the recent Mirrors 2) or small independent passion projects (such as the “After Dark Originals” series), few are worth shelling out your hard earned pennies for. There's a reason they didn't get a wide release, after all. Every now and then, however, one such cinema-evading spooker piques my novelty-susceptible interest – and 2010's Damned by Dawn, from intriguingly-monikered Australian's “The Amazing Krypto Bros”, certainly did that.

Admittedly, I was initially drawn to what I thought was a fanged vampire on the UK's whitewashed cover (see bottom pic), but a read through of the synopsis did little to dampen my interest; a soul-collecting Banshee with a scream to raise the dead sounded refreshingly original. And original Damned by Dawn undoubtedly is – even if my admiration was blotched by mild disappointment by the roll of the end credits.

As the life seeps evermore noticeably from her bed-ridden grandmother (Klingberg), twenty-something Claire O'Neill (Willner) returns to her father's (Stratford) run-down farmhouse for the first time in 18 months – with her boyfriend Paul (Alder) in tow. As Nana starts talking of a woman who will come to claim her soul when she passes, a spooked out Claire dismisses the creepy chatter as little more than illogical ravings – until the family are awoken by piercing shrieks in the middle of the night and their home is under threat from the recently risen dead; under the command of a wailing woman in white...

The screen continually cloaked in a dense fog, and the narrative unfolding entirely on the grounds of the eerie and isolated rural house, the filmmakers certainly cannot be accused of not summoning up a remarkably appropriate atmosphere. The Banshee – a blood-stained, ghost-faced, rag-wearing spirit – is a genuinely creepy creation. Alas, it soon becomes clear that her arsenal of abilities is strickly limited to floating and shrieking (the majority of which she does off screen) – making her no more fearsome than the ghouls she awakens.

On the subject of the ghouls – unearthed, supernaturally animated corpses – you have to admire the FX department for their budget-restricted effort, but, in truth, flying skeletons are not scary, and some of the atmosphere attributed to the Banshee is irredeemably eradicated by these ludicrous foes. Nonetheless, I will conceed to being impressed by the sequence in which Claire and her father speed away from the house in a car as countless airborne ghouls fly at the panic-stricken escapees.

Attempts to justify and add depth to the horrific events by tying the modern day phenomena to the O'Neill's family history by way of a black and white photograph, an heirloom urn and diary extracts from generations past are well meaning but ultimately fall short of lucid. As do the poorly-executed endeavours to grant the human characters with rounded personalities (the father's quickly forgotten kookiness; Claire's scarcely unmentioned secret). Ultimately, the film's greatest elements are the most gory (a gut-spewing, unrelenting zombie attack in the kitchen), and although the make-up is slapped on a little thick in parts, Damned by Dawn is an admirably gutsy independent chiller.


In a CR@B Shell: Small in scale but big in ambition, Brett Anstey's Damned by Dawn may forsake some of its unearthly ambiance with unintentionally gigglesome adversaries, but make no mistake – there is a gallant and damned spirited concept at the core of this low budget offering.
aaaaa

Mirth of the Living Dead

DVD Review: UNDEAD
15 – 100mins – 2003
Written by: Michael and Peter Spierig
Directed by: Michael and Peter Spierig
Starring: Felicity Mason, Mungo McKay, Rob Jenkins, Lisa Cunningham, Dirk Hunter, Emma Randall, Noel Sheridan, Gaynor Wensley, Eleanor Stillman, Robyn Moore
____________________

Meteor showers, acid rain, a zombie uprising, killer fish, ghostly apparitions and alien abductions – you certainly can’t accuse the Spierig brother’s first feature of being uneventful. But anyone – myself included – watching this wild Australian horror in the wake of their 2009 breakthrough hit Daybreakers should not be expecting a tonally analogous ride. Pity, then, that Anchor Bay recently repackaged the film with a misleadingly dour cover...

Whereas the twin auteur’s future-set vampire apocalypse was a furiously severe and sombre horror, 2003’s Undead is a madcap tongue-in-cheek affair which packs as many laughs as gloriously embellished deaths into its 100 zany minutes. Strictly speaking it’s not a parody, although Michael and Peter do little to disguise their “splatstick” influences: this is essentially The Evil Dead (1981) mating with Bad Taste (1987) in George A. Romero’s cellar.

You can therefore be certain that you won’t be able to keep a straight face as the townsfolk of fishing community Berkeley start developing a taste for brain matter and a spiky extraterrestrial barricade quarantines the human survivors alongside their undead neighbours. Mungo McKay camps it up as the eccentric outsider Marion who is never short of a gun or twelve, leading the shabby mortal resistance against the torrents of supernatural activity.

Just when you think Undead can’t possibly get any wackier, the Spierig brothers throw in another comic book nemesis for our wearied protagonists to battle, bludgeon and behead. It’s all farcically over the top and riotous fun, but the busy plot does begin to feel rather scattershot in its approach, as if a multitude of genre elements are being shoehorned in just for the sake of it.

Nevertheless, anyone who fancies a chortle at a pair of bodiless legs stumbling aimlessly in search of a torso is in for a treat: Undead is unquestionably a tour de force of carnage and comedy. Lamentably, as the credits rolled I was left with a prevailing sense of frustration, trying desperately to work out how the haphazard plot strands pulled together to reach such a crazy conclusion. Perhaps I was paying too much attention…?


In a CR@B Shell: More farcical than frightening, Undead is a hyperbolic homage to old school horror comedy which is best watched in a braindead, booze-addled state.
aaaaa

Blood Money for Drained Resources

Blu-Review: DAYBREAKERS – UNSEEN EDITION

18 – 98mins – 2010
Written and directed by: Michael and Peter Spierig
Starring: Ethan Hawke, Willem Defoe, Sam Neill, Claudia Karvan, Michael Dorman, Isabel Lucas, Christopher Caruso
_____________________________________________

Just when you thought the vampire sub-genre had been sucked dry from over a century of diverse fictional incarnations and dubious neutered interpretations (I’m looking at you, fangless and glittering preeners of the Twilight saga), along comes a fresh and ferocious take on the UV-phobic neck biters to inject the undead spawn of Bram Stoker’s mythical archetype with a transfusion of cool. And make no mistake: the Spierig brother’s future-set sci-fi/horror hybrid is bloody cool.

Set in a monochromatic 2019 where the last remaining scraps of humanity are being hunted down and farmed for their plasmic juices in a multi-national pharmaceutical laboratory run by the new and untanned master race, Daybreakers pits heartbeat-sympathiser haematologist – he who searches for a synthetic blood substitute – Edward Dalton (Ethan Hawke) against his own claret-starved kind when a pocket of human survivors led by Audrey Bennett (Claudia Karvan) and formerly-fanged Lionel “Elvis” Cormac (Willem Defoe) prove to the doc that there is a cure to reverse the vampiric plague and save the mortal race…

What impressed me most about this dark, stylistic future shocker was the Spierig brother's creativity with the subject matter and their striking attention to detail. Writer and director team Michael and Peter really immerse you in their apocalyptic world which comes alive with the undead when the sun goes down. Car windows are blacked out and fitted with roof-fitted cameras to allow for daytime driving; labyrinthine underground walkways provide a safe way to get about town without getting sunburn; brigades of gun-totting human-hunting soldiers are deployed to find food, without which the blood-gluggers slowly degenerate into hideous bat-like Subsiders (gloriously reminiscent of the creature Gary Oldman transformed into in 1992’s Bram Stoker’s Dracula). As I said before: bloody cool.

However, the cure (to death?) discovered accidentally by “Elvis” should be taken with a water tower's worth of salt. It’s incredulous bunkum, even in a genre flick peopled by pulseless immortals, but it is adequately sufficient as a plot device to progress the relentless action as malevolent corporation president Charles Bromley (a wonderfully snide Sam Neill) sets about quashing Edward’s resistance, hiding any hint of a cure and mass marketing the synthetic blood substitute for major profit. Cue a dramatic blood-bath finale which is only dampened by a slightly hasty feel to the epilogue.

It is hard for me to believe that a film with such a wickedly inventive premise took nearly 6 years to reach our screens, from Lionsgate acquiring the rights to the script way back in November 2004. But then this is a modestly budgeted Australian production – the State Government even contributed to the $21million raised – with the Spierig brothers having only one previous feature to their name (2003’s little known Undead). That being said, after watching their sophomore effort, I am very excited to see what the brave and imaginative duo create next. Daybreakers is a slick, spirited, sharply-scripted supernatural shocker which delivers on action, chills and gore (hence the 18 rating on this “Unseen Edition” home release) with a sly allegory on man’s profligate attitude to natural resources slipped in for good measure.

CR@B Verdict: Overlook the logic-vacuum of the “cure” & you’ll be treated to an hour and a half of blood-pumping action, spine-tingling horror and car-chase thrills. An atmospheric near-future creature feature with balls, bats and Sam Neill – what more could you ask for?!
aaaaa