Hawkins, Indiana is experiencing strange things once more. And it's connected to the Soviet Union.
Ten zombie flicks perfect for any creepy Halloween season movie marathons you might have planned
Romero offers up something a tad different than his zombie films. This time, humanity is even nastier even if it isn't near as good as the Dead Series.
So many remakes miss the mark. In an uncommon turn, Breck Eisner's remake of THE CRAZIES by George A. Romero actually improves on the original to make for plenty of chills and thrills.
The Dark Half. 1993. Directed & Written by George A. Romero; based on Stephen King’s novel of the same name.
Starring Timothy Hutton, Amy Madigan, Michael Rooker, Julie Harris, Robert Joy, Kent Broadhurst, Beth Grant, Rutanya Alda, Tom Mardirosian, Larry John Meyers, Patrick Brannan, Royal Dano, Glenn Colerider, Sarah Parker, & Elizabeth Parker. Orion Pictures.
Rated R. 122 minutes.
I’ve long said that George A. Romero and Stephen King go together like coffee and pie. Is that a thing, is that what people say? Well, I like coffee and pie. A nice treat. Just like I dig some Romero and King. They’re sweet together, as sweet as horror can get. You fans know what I’m talking about. Usually people associate Romero with the zombie sub-genre, and rightfully so: he single-handedly reimagined the zombie in modern terms giving birth to a trend that’s still going on today, which will undoubtedly continue until the end of time. Yet Romero made some really good work outside of the zombie structure. Long before 1993, too. But The Dark Half is one of those King-Romero collaborations that isn’t only interesting on paper. The whole film is a dark, gorgeous joy. Previously the two powerhouses of scary shit did well working on 1982’s Creepshow. Most will say that’s their best work together. I love that one, have it on the shelf alongside this and other Romero, as well as other King. I have to say, this one is my personal favourite of the two movies. Most of all because the book is so good, and for better or worse this adaptation nails most of the important aspects right on the head. The visual style is quite what we come to expect from the master of horror in Romero. King’s story matches the darkness of the director in his story examining duality, the lure of addiction in the sense of it creating an entirely other identity in one person, a quasi-monster movie about a man’s evil side literally appearing out of thin air. This is on the top of my lists for favourite King adaptations. There’s a lot to enjoy, even if it isn’t perfect. In the second half of the film things get riveting. Romero always goes for the jugular, this is no different.
Love the idea of duality. We’ve seen it many times before in literature, most famously in Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde. What’s most interesting about the King novel and this adaptation is how we look at the dual identities of George Stark v. Thad Beaumont (Timothy Hutton v. Timothy Hutton). This is a parallel of several things. Of course on the surface there’s the idea of literally mirroring King and his own pseudonym, Richard Bachman. This whole film can act as a metaphor about how King and his feelings of the success involved with Bachman’s writing, in that it became this whole other entity that needed to be dealt with, and King’s wild imagination concocts this whole story. On a deeper level there’s the fact King wrote The Dark Half right before going sober. His own feelings of the drugs and the booze taking over, the addiction becoming an entire entity all of its own, his need to rein in control as himself and be a sober man going forward, these are the biggest drive for the ultimate differences between Thad and George.
The whole visual difference between Hutton as Thad and George is awesome. When I read the book I really got such a feeling of uncanny terror when imagining the two versions of this one man. Particularly later on when things get very intense, the practical makeup effects used make the divide between Stark and Beaumont bigger. Added to all that there’s Hutton. Now apparently he was a horror to work with, even quitting the production at one point. Can’t say he doesn’t play the part to near perfection. He has the feeling of a writer torn in two from the start, not sure whether to keep riding on the success of a part of his identity which clearly causes trouble in his real day-to-day life. Then as we get further into the plot Hutton’s able to seamlessly transition from just a writer in distress to a man having one devastating existential crisis.
Something I’m very interested in personally is the Eastern belief in the concept of tulpa. Essentially, this is the concept that the mind is so powerful that it can will something into existence through pure thought. Further than that there’s often the idea that collectively, enough people might be able to will something into existence due to the amount of people expending mental energy on conjuring it up. Such is the case today with phenomenons like Slender Man and others. Certain occult thinkers might suggest these entities can become real, of flesh and blood, if enough people believe in them and will it so. In a way, George Stark is such a tulpa. Thad has not only thought him up, he’s effectively become a real person in that Beaumont hands his work over to the pseudonym, making him a part of the world. Then there’s the fact Thad had a malformed twin in his skull as a boy, this plays into more ideas about duality and further almost twists this into a monster movie – horrific images in the mind conjured up concerning a leftover bit of brain, bits of human matter not fully formed, waking up and growing into a whole man, wreaking havoc on a town in Maine. King, adapted well by Romero, takes a wild look at what happens if a murderous, hateful, vengeance seeking guy like Stark were to be willed into existence. There’s an equal part of camp much as there’s depth to the story. It’s all great, though there is quite a good helping of a sort of 1950s-style. There’s nothing wrong with that. Mostly it comes in the form of Stark who is appropriately a sort of typical 50s gangster with a razor blade, a slick-haired, leather jacket wearing, kinda Elvis copy. He’s no West Side Story sort, he’s much more dangerous than that. Along with his creepiness comes an awesomely throwback sense of camp that adds a dark humour to many of the kill scenes. All in all, the way King’s story and characters bring out the idea of the tulpa is lots of fun. Romero does his best to make that work and does a bang up job.
I can forgive a movie’s mistakes if most everything is compelling enough. King wrote a great novel, one to which I found myself glued until the last page turned and that back cover slapped shut. The Dark Half is in good hands with Romero. His directorial choices match his capabilities as a writer, each side complimenting the other. More than that I think he does well with adapting King. Not everyone can fit a novel of his into one screenplay properly, though I’m inclined to feel as if Romero does just that. Rather than make this into a half-assed attempt at jamming every little idea King had in the novel into the script, Romero opts to choose the best material, condense it, then make sure the lead character and his story gets brought out powerfully. The adapted screenplay works, and Timothy Hutton sells the Thad Beaumont character, in turn doing a fantastic job with George Stark in a highly opposing role; all the duality rests on him here, he carries that responsibility nicely. Throw in some nice effects, a couple nasty horror kills and blood to boot, this keeps things on the level for those genre fans out there. I forget how good this movie is then each time I put it on I remember, so quickly. If you’ve not seen it and call yourself a King fan, or one of Romero’s legion, then get on it, now. This is better than many will try and tell you.
Snyder and Gunn, above all else, help make zombies terrifying again.
Day of the Dead. 1985. Directed & Written by George A. Romero.
Starring Lori Cardille, Terry Alexander, Joseph Pilato, Jarlath Conroy, Anthony Dileo Jr., Richard Liberty, Sherman Howard, Gary Howard Klar, Ralph Marrero, John Amplas, Phillip G. Kellams, Taso N. Stavrakis, and Greg Nicotero. United Film Distribution Company (UFDC)/A Laurel Production/Dead Films Inc./Laurel-Day Inc. Rated R. 96 minutes.
For me personally, though I love each of them and think they’re masterpieces of horror, George A. Romero’s Day of the Dead is my favourite of his first three major zombie films. The post-apocalyptic feel here is even stronger than in the previous Dawn of the Dead and I can’t get enough of it.
Romero dives into more sociopolitical issues again here, as he did with the other two Dead movies. This screenplay deals with the head-butting elements of science and military in a world ravaged by the zombie virus. Most of all, though, this movie really gets down to the nitty gritty, raw side of humanity – what we, as a species, would devolve into, regressing back to a primitive state once the zombie apocalypse begins. Through the military vs. scientist dilemma throughout Day of the Dead, this microcosm of the post-virus landscape in a bunker under the ground, we’re able to see how far humans will go, or better yet how far they can fall. Even further than that, as the good Dr. Logan says “they are us“: Romero tries to introduce a clear example of how zombies are still human, merely men and women reduced to a primitive, less active and intelligent state. So what interests me most throughout this fascinating zombie film is how the line between man/womankind and our primitive animalistic self seems to only be a thin one, a light veneer barely separating the two states.
Romero knows us, better than we’d like to admit.
When zombies have overrun the world, a dozen people – government scientists and military – live in a bunker below the earth. The scientists, led by Dr. Logan (Richard Liberty) and Dr. Sarah Bowman (Lori Cardille), attempt to try and figure out how to battle the zombie virus itself. Although, Logan has some different and perhaps unorthodox ideas about the way to experiment in such things. The soldiers, now under command of Captain Henry Rhodes (Joseph Pilato) – a hotheaded and equally stubborn, violent man – do not approve of what the doctors are doing.
After the isolation of being underground starts to emotionally and mentally unhinge Private Miguel Salazar (Anthony Dileo Jr), the outside world of the living dead manages to break through, coming down below to meet the still-living.
And then, on that day, hell breaks loose.
The opening scene, to me, is one of the things I’ve always loved and found memorable about Day of the Dead. Not sure why, I suppose because there’s a creepy dream-like quality about it which sets the tone: this is going to be a nightmare. And it is, in the absolute correct sense of the word, in the right way a horror film ought to be a nightmarish experience.
Truly, this film is a haunting zombie horror. In my opinion the special makeup effects are best here. Savini gives us amazing gore to soak up. Greatest of all comes quickly, after we’re introduced to the man lovingly referred to as Dr. Frankenstein by the other scientists and the military men, Dr. Logan: a zombie on one of the operating tables leans over, ripping a strap from its arm, and reaching out its guts and innards fall out of the stomach’s cavity onto the floor, slopping in its own mess. Nasty bit! Even better, the dream imagery comes back – like the beginning scene – except much more brutal, and it emulates the zombie’s guts falling out: as Sarah lies in bed, she imagines seeing Miguel similarly lean over with his insides evacuating, then comes back to reality fast. These alone are worth the price of admission regarding special makeup effects. Savini really pulls out his big guns in this movie, taking away the comic book garishness(/awesomeness) from his Dawn of the Dead zombie work, replacing those qualities with equal excellence on top of dirty, disturbing and realistic blood. Not knocking his previous work for Romero, on the contrary – I love it (check here if you don’t believe me). There’s simply a better, more terrifying aspect to the special makeup effects here; while the cartoon-like essence in Dawn of the Dead came a subtle creepiness, here it’s an outright mortifying feeling Savini gives us. Thank you, Tom!
BEST DECAPITATION IN ANY FILM – EVER. My vote goes for a scene around the 1 hour 27 minute mark. A soldier is surprised from behind by a group of the living dead when they pin him down, each grabbing bits and pieces of his flesh, then tear his head off. My favourite part is his scream – as they start to pull the head off, neck separating from shoulders and sternum, his voice gets higher and higher until the vocal cords literally snap off, blood spurting, and the entire head is free. Amazing, amazing special effects here. Such beautiful practical work in the horror genre, really a crowning achievement as far as I’m concerned. And not just that: it’s nasty as all hell.
Human beings are shit. Romero knows this is at least partly true. One part of why I love the scientist vs. military conflict here is because each side is presented as having their faults or their wrongdoings; not every individual is bad, but neither whole side is presented as totally in the right. For instance, though the military men are all pretty much horrible human beings, except for Miguel (he’s just gone absolutely insane), the scientists are not all rosy and perfect either – Logan and his experiments are a little barbaric, mostly considering he’s opted not to tell the soldiers about using other dead soldiers for extra meat. So sure, the scientists are ultimately trying to do the right thing, in whatever way it can be accomplished. There’s still an unethical aspect to the way they’re going about the mission. What Romero does with this plot is show us how not all soldiers are culpable in the terrible actions of soldiers in general, just as not all scientists are working towards the greater good most scientists try and work towards achieving. Every side has their good souls, every side their bad. But the bad ones – man, does Romero ever show us how bad they can get when the going gets tough.
Generally it’s the sense of isolation which gets to me about this Romero masterpiece – it has so much suspense and tension because of its setting, generally lending itself to an air of eeriness. Night of the Living Dead was located mostly in the farmhouse, so there is a real sense of tightness, the characters enclosed and withdrawing further into the house at times. Dawn of the Dead even dared to get a little more claustrophobic because even within the mall, once zombies started to overrun the place there was nowhere for the survivors to go, or at least limited options of where to start running. What’s devastatingly intense at times about Day of the Dead is the fact they’re all underground. Even with the helicopter up above and a way to fly off, there’s still a ton of zombies trying to get in. Plus, once Miguel does the unthinkable after his craziness reaches its peak, the zombies filter into the underground bunker. So it’s WAY WORSE than the mall in the previous movie because so far below ground there are less ways to escape than a huge building aboveground. Add to that all the human elements of Romero’s wonderfully written screenplay, you’ve got yourself a backload of tension and unnerving suspense happening on an almost constant basis.
Another 5 star film from George A. Romero. I’m huge on his films in general, not just the zombie work. But god damn it if he doesn’t make the greatest possible use of the living dead, adding solid horror to solid writing concerning sociopolitical issues to create a unique brand of horror sub-genre storytelling. Not every last piece of his zombie movies are full of issues – some times it’s just great and vicious horror. Though, it’s hard to deny how well Romero captures the issues of the day. Moreover, still as I write this in 2015, the issues continue to stay relevant: we’re almost always living in an era where the brutality of the military and politicians with their want for war come up against more rational, scientific approaches to the world around us. Day of the Dead is a masterful horror film in general and one of the greatest zombie films ever made. Personally, it’s my favourite of Romero’s Dead series because there’s a wholly unique quality to it even above his others. If you’ve not yet seen this, please do so. Particularly if you are big into zombies – you’ll see a lot of this film’s influence in other more contemporary zombie movies, as well as The Walking Dead of course. And really, it is just a solid, effective work of horror well worth your undivided attention.
Dawn of the Dead. 1978. Directed & Written by George A. Romero.
Starring David Emge, Ken Foree, Scott H. Reiniger, Gaylen Ross, David Crawford, David Early, Richard France, Howard Smith, Daniel Dietrich, Fred Baker, and James A. Baffico. A Laurel Group Production. Rated R. 127 minutes.
George A. Romero started the modern zombie craze with his 1968 horror movie Night of the Living Dead. Ten years later, he came back swinging with Dawn of the Dead. Full of iconic moments, even iconic zombies themselves (see: Hare Krishna zombie), Romero gives us an even more nuanced, darker, and at times funny, bit of horror cinema.
A lot of people nowadays are hugely into the zombie sub-genre. For good reason, as these Dead films from Romero, including the ones after it, are a whole lot of horror fun. The reason why Dawn of the Dead is so celebrated and loved after all these years is because not only does it do a fine job creeping you the hell out, like Romero’s 1968 film, even more than that it again explores social issues. Soon as the characters in this movie make their way to a mall, hordes of zombies trying to get inside, you can tell there will be some kind of commentary on Romero’s part. Dawn of the Dead is written incredibly well, with good characters, dialogue and action, as well as the fact Goblin does the soundtrack, Dario Argento worked on the music/editing, and master of special effects Tom Savini supplied all the zombie nasty work. This is one damn good piece of zombie horror and it’s no wonder we’re still talking about it today as much as we do.
After the dead reanimate and start to feast on the flesh of the living, a group of people hoping to survive make their way via helicopter to a large mall: Stephen “Flyboy” Andrews (David Emge) and Francine Parker (Gaylen Ross), along with two SWAT team members Peter Washington (Ken Foree) and Roger DeMarco (Scott Reiniger). Upon arrival, they try and set up camp finding a safe room to spend their nights, food for sustenance and any other various items they can manage to whisk away from the stores in the mall. Only problem is the zombies have filled up a nice majority of the shopping complex, so they’ve got to maneuver their way around the huge building efficiently, and quietly, as humanly possible.
But when Roger gets infected by the zombie virus, their situation changes. With the situation inside the mall getting worse with every passing day, the group is forced to confront other options; that is, if there are any left.
One of the most intriguing things about this movie is how Romero expands on the idea of a post-apocalyptic United States of America. During Night of the Living Dead, we do see a microcosm of the aftermath with all the sheriff’s boys out hunting ghouls and seeming to have a grand ole time, plus there are the news reports and all those aspects. However, with Dawn of the Dead this plot allows Romero to give us a bit bigger of a look at the post-zombie society. Big part of that is the mall itself.
When they first arrive, Francine questions why the reanimated corpses would be at the mall, to which Stephen replies “Memory of what they used to do; this was an important place in their lives“. Later on, as the group listens to a radio, a commentator talks about remembering past lives and how the actions of the zombies are merely them working out what they once used to do. The thing I find interesting, the social aspect of Romero’s screenplay, is how he chose the mall/shopping complex itself. It speaks volumes about human society just in the number of living dead wandering around the building and outside; it’s evident how involved we as humans are in consumerism already, but Romero – back in 1978 – was already on to the fact we’re creatures of habit, as well as creatures of leisure wanting to shamble our way into the mall, mindlessly picking away at the things inside (a.k.a “shopping”). So I think, again like his first zombie movie, this one can be considered relevant today, if not even more so than it was on its original release. The way we consume things as a society of people has gotten out of hand, especially now in the post-2000 world. Say what you want about Dawn of the Dead, or the films which follow it/the one preceding it, Romero infuses his horror with a ton of commentary. Not every last shot is done like this. Overall, though, you cannot deny Romero’s zombie films encapsulate social products of their time and even then they go on with their strength for years. I won’t be forgetting these films any time soon, if ever.
I have to talk about Tom Savini. As someone whose love for horror grew out of older films intent on using practical makeup effects, before CGI ruled the industry, Savini is one of my personal gods. Honestly, even the first three films he worked on show off his immense talent – from his uncredited work on Bob Clark’s Dead of Night and putting his hands into the loose Ed Gein inspired Deranged, to doing fun stuff on Romero’s 1977 unusual yet awesome vampire flick Martin, to the stellar makeup/special effects he did in this film. I won’t go through the man’s entire filmography, but I’m just trying to show you how immediately Savini made an impression on the horror movie industry. In fact, Romero wanted him to work on the original ’68 Dead film. Unfortunately at the time Savini was called off to war; he actually applied some of the nastiness he saw during the Vietnam war as a combat photographer to the special effects/makeup he did in films. Luckily, they got together for this movie and did a ton of bloody, fun horror work.
The look of the zombies alone is great. There’s a satirical part in how they look, as they’re all zombies yet representative of our own zombie-like qualities as humans. So while I’ve seen some horror fans wonder why the zombies are blue-ish coloured, I think there’s a wickedly dark comedic edge to their look. At the same time, they’re still fucking terrifying! Not just that, the head shots and the flesh eating and all that rotten business works well. Most of all, it’s the blood itself I find so wonderful. There’s nothing like a good looking bit of blood on camera and something about the blood in Dawn of the Dead is at once cartoon-ish and simultaneously nauseating: its rich red makes it appear almost like paint, like comic book blood, and the thick texture of it seeping out of chests/heads/et cetera has a visceral, raw essence which is kind of gross. Needless to say, without boring you too much to death on my thoughts about the effects overall, without Tom Savini this would not at all be the same type of horror film. Furthermore, I’d venture to say the zombie sub-genre wouldn’t be as rich and magical in terms of effects if Savini hadn’t done such good work with Romero here. This movie has influenced so many filmmakers and endlessly captivated the minds of legions of horror fanatics, and will continue to until the end of time.
It’s hard to say anything that’s not been said before concerning Dawn of the Dead. One thing is for sure, though, George A. Romero is the man who gave us modern zombies and this film is an intense piece of horror cinema which dives further into the zombie lore he created in 1968, as well as touches on aspects of human nature from friendship in close quarters to a reflection of our inherent consumerism as people in the 20th century. 5 stars, right through the roof and to the sky!
As I said in my review of Romero’s first zombie feature, Day of the Dead is actually my personal favourite. All the same, each of the three first films in his Dead series are perfect in my mind and neither are technically better than the others, at least that’s how I see it; I just prefer Day over the others, something more apocalyptic and foreboding about its plot.
Regardless, Dawn of the Dead constantly affects me, it always entertains and I love the two-disc DVD set this came in, which I ordered a few years back now. Lots of fun features on the release, as well. If you’re a fan it’s worth the cash. If you’ve not seen this: smarten up and watch it for Halloween.
The birth of the modern zombie, the rules of the zombie picture we know so well, is all due to George A. Romero.
AMC’s Fear the Walking Dead
Season 1, Episode 3: “The Dog”
Directed by Adam Davidson (Hell on Wheels, The Following, Low Winter Sun)
Written by Jack LoGiudice (Sons of Anarchy, The Walking Dead)
* For a review of the next episode, “Not Fade Away” – click here
* For a review of the previous episode “So Close, Yet So Far” – click here
At the beginning of the latest episode, “The Dog”, we see the big family still divided across the city.
While Travis Manawa (Cliff Curtis), his son Chris (Lorenzo James Henrie), his ex-wife Liza Ortiz (Elizabeth Rodriguez), and the Salazars – Ofelia (Mercedes Mason), Daniel (Rubén Blades), and Griselda (Patricia Reyes Spíndola) – are all holed up in the little barber shop owned by Daniel, a riot is going down fiercely in the streets. After a few minutes they’re forced out of the shop and into the street, as a fire next door begins to make the wall literally bubble.
Not just riots are happening; the apocalypse is nigh!
Chris witnesses a person zombified, biting into the neck of another person; in fact, they’re police officers, most likely SWAT Team members. The whole city of Los Angeles, at least that area anyways, looks to be in total panic mode, full-on mayhem.
Meanwhile, back at home, safe and sound, Madison Clark (Kim Dickens) is taking care of her junkie son Nick (Frank Dillane). The two of them, plus Madison’s daughter Alicia (Alycia Debnam-Carey), play a board game.
Great juxtaposition of the two family units, each in their own space – one fighting to survive in the streets, the other in a nice, quaint little living room playing a board game. I also feel like there’s a larger statement in this segment. For instance, the Clarks are all white, and then there’s Travis, his ex-wife, and the Salazars who are all of different ethnicities. While the white people are all cozy in their houses, it’s everyone else left in the streets – at the mercy of police and zombies. I don’t know, perhaps I’m making a mountain out of a molehill, or a pile of lint, but I honestly think there’s a bit of George A. Romero political zombietary dropped in amongst it all. That’s the great part about art in any form: we’re all able to draw out what we want from the themes and events within it. I’m probably way off base from the writing, it’s still fun to theorize.
An amazing sequence is in this first 10-12 minutes. When Travis leads his group out of the downtown area riots in the truck. The way it’s filmed is heavy, man. The score, the shots themselves, they all amount to a feeling of great unease. Travis and his son Chris look out the window of their truck, as the Salazars and Liza sit in the pan: chaos is erupting, the hospital is overrun with police and at least ONE zombie – no doubt lots more – and an excellent slow motion shot sees an officer running with an automatic rifle in hand. There’s just a real sense of gravitas to everything happening. Even Travis knows it’s more than simply riots; we, the audience, know far more. So in both ways this scene cuts deep, in an immediate sense because we’re watching society begin to breakdown as the zombie outbreak begins so quickly.
Furthermore, once they get out of the populated area up on this hill, Travis and Chris watch through the truck’s windows and we can see in the reflection of the glass city lights are beginning to shut down, one section at a time, Los Angeles descending into a soon to be perpetual darkness.
Once Travis and his group arrive back to find Madison and the kids, there’s trouble.
A zombified neighbour wanders into the Clark house, killing and eating the family dog. Out looking for a shotgun at another neighbour’s house, Madison isn’t able to warn Travis before he heads inside. ZOMBIE ATTACK! Finally we’re seeing another zombie on human sequence. This time it’s more intense than Madison’s encounter with her co-worker.
Daniel Salazar intervenes on Travis’ behalf by shotgunning the zombie neighbour in the face. SUCH GNARLY EFFECTS! The first shotgun blast is savage. Then Daniel takes another pop shot and the head goes BAM; nevermore. Really wild makeup effects which I loved.
There’s some family drama happening with everyone now housed temporarily under the Clark roof. First it starts with Chris trying to help Alicia, but getting a hard elbow in the nose. This puts Chris and his father in a room together for a few moments, as they talk a little about the infection; mostly, Travis tries to reassure his son that everything will be all right. Moreover, Travis has obviously got things a bit rough with two wives in one place, which – regardless of the circumstances it being the end of the world outside and all – cannot be easy, it’s obviously a wound still partly open for some of them.
The Salazars are also at odds. Daniel doesn’t want to be in someone else’s debt at a time such as it is in Los Angeles. But clearly it’s also not a time to be alone, cast away from society or people of any kind. Everybody needs somebody (some time). The Salazar women feel a little differently, however, I get the impression Daniel is only looking out for his loved ones; he strikes me as a very family centric man and he’s not about to make anything worse than it is for his own family by siding with the wrong people. I’m sure as time goes by, he and Travis might find a bit of common ground, a mutual understanding on which they might stand together. Eventually.
Daniel and Travis still have a way to go. The old guy is only trying to keep everyone safe, but Travis has a problem with Daniel showing Chris how to use a shotgun. Mainly, I think ol’ Mr. Salazar is a realist. He knows something is wrong, he’s seen some things in his life, and the guy just wants to be prepared; he wants, needs, everyone else to do the same. It’s telling when he sees Travis and Madison at the fence – Travis talks Madison out of killing her zombie neighbour-friend Susan Tran (Cici Lau), Daniel only says to himself “Weak” as they walk away. So it’s obvious he has got the realism hat on while others are having a harder time adjusting.
Even further than that, the Salazars opt not to go with the Clark-Manawa-Ortiz brigade, as Daniel tells his daughter “good people are the first to die“.
The most intense sequence of “The Dog”, though, has got to be when Patrick Tran (Jim Lau) comes home to his wife Susan. Just as he’s about to grab her in a hug, as she shuffles zombi-ly towards her husband, some National Guardsmen blow a little hole right through dead Susan’s head. I thought for sure there’d be a big zombie chase sequence or simply a blood and gore fest maybe, with a couple deaths. Instead, “The Dog” sets up the next episode with the National Guard moving in on the whole neighbourhood and, at least for the time being, the Clarks, Salazars, and the Manawa-Ortiz clan are safe. Or are they? Who knows exactly what will happen.
As Travis says “It’s gonna get better now” and the episode fades out with a slightly optimistic yet haunting score overtop, it’s hard to tell exactly how things will go immediately. Of course, we know how they’ll start to go on down the line.
But just before the cut to black happens, Daniel says to his wife, while watching the National Guard move through a house next door: “It’s already too late”
Very foreboding finish!
Can’t wait for the next episode, “Not Fade Away”. People keep saying the shows is boring, but it isn’t to me. Others expected full-on mayhem and madness. It’s not that type of series! Not yet anyways. The world of Robert Kirkman, Tony Moore, Charlie Adlard, and yes Dave Erickson, has sprung to life in a new, unexpected way in this series which leads us into where original show The Walking Dead has already taken us. So for those who don’t enjoy, here’s a tip: stop watching. The series will do just fine without you.
For the rest, stay tuned! I’ll be back again next week with another review. Hope to see more and more craziness, now with the National Guard in the mix and the government bearing down on Los Angeles I know there’s going to be something intense and exciting happening in “Not Fade Away”. That episode, by the way, is directed by Kari Skogland whose television work includes Vikings, a 6th season episode of The Walking Dead, the fifth episode of Kurt Sutter’s new series The Bastard Executioner, The Killing, The Borgias, Boardwalk Empire; Skogland’s film credits include the excellent Fifty Dead Men Walking and an adaptation of Margaret Laurence’s The Stone Angel, among others. Looking forward to her at the helm of this next episode, should be fun.