Feature: Highlights From WonderCon 2013!

WonderCon, the sister to Comic-Con, returned to Anaheim Convention Centre this year. Today was the last day of all things comic books,film and television. From various news reports, I have picked out some ofthe weekends highlights (albeit a bit prematurely). Obviously, due to the sheer magnitude of such aconvention, it is not an all encompassing list and I have no doubt missed bitsand pieces which have some people bouncing off the walls. Nevertheless, hereare my top picks:

Hemlock Grove

Produced by horror filmmaker Eli Roth, based on Brian McGreevy’s novel, Hemlock Grove follows the brutal murder of a 17 year old girl. The suspects are gypsy-werewolf Peter and rich-kid Roman who take it upon themselves to solve the murder instead. The show very much deals with ‘the monster within’ and appears to be, in Roth’s own words, something ‘harder’ than the Twilight series. Its panel at WonderCon this year treated us to a snippet of the show, which just so happened to feature a very impressive werewolf transformation scene – if you haven’t already, check out my thoughts on this sequence and watch it here. This sneak peak and the panels Q&A have effectively upped the ante and excitement is definitely in the air. All 13 episodes will be available on Netflix from April 19^th.

NBC's Hannibal

Last night the first two episodes of NBC’s Hannibal were exclusively screened at WonderCon. By the looks of things, the verdict is not quite in yet but I have to say I am quite excited about its release on April 4^th.Obviously with the likes of Brian Cox in Manhunter and Anthony Hopkins in Silence of the Lambs, the series has a lot to live up to. However I have faith in Mads Mikkelsen and his creepy ways, expecting him to be a captivating screen presence and the star of the show. Until the reviews are in from WonderCon attendees, here is a reminder of its official trailer...

Pacific Rim

Guillermo del Toro raised excitement feverishly high by showing a brand new trailer for Pacific Rim at the films panel. Pacific Rim will be one of the biggest science-fiction releases this year and follows the premise of rather large human-piloted robots, Jaegers, fighting giant monsters, Kaiju, who arise from a crevice in the Pacific Ocean. Think huge spectacle and mass destruction but in the hands of visionary genius del Toro –no Michael Bay nonsense that’s for sure. The panel also featured general discussion on del Toro’s experience of making the film and its current status (85% of visual effects complete and they’re currently mixing sound). Pacific Rim is due for release on July 12^th 2013. Unfortunately, the trailer released at WonderCon was for their eyes only so the best I can do is provide you with the official trailer released a few months ago...

The Conjuring

James Wan (Insidious, Saw) attended WonderCon on Saturday, scaring the living daylights out of convention attendees  boasting new footage from his upcoming feature, The Conjuring. Based on true accounts by paranormal investigators Ed and Lorraine Warren, the film is a somewhat predecessor to the Amityville case. Set in 1971, it follows a family and their not-so-homely farmhouse, haunted by a witch’s spirit. All three bits of footage featured a lot of what can be seen in the trailer below - pictures falling off the walls in a thunderous fashion, a terrifying game of hide-and-seek and an unwise investigation of strange noises coming from the cellar. A new bit of footage included two daughters, Christine and Nancy, and an unfortunate disturbance in the middle of the night. It all looks and sounds pretty damn creepy and I hope that Wan will continue with the less-is-more approach seen in the footage throughout the entire film. Saying that, I can't help but feel it will become a bit of a let down and that we may have already seen the greater scares it has to offer... The Conjuring is due for release July 19^th.

Evil Dead

Once again, Evil Dead sent fans into a frenzy at WonderCon. We've already been gleefully horrified with various images, trailers andfootage. Critics have also praised the film very highly so we know that, generally, Fede Alvarez has done a great job at rebooting a much loved classic. So what else does he have to offer? Well at the panel he declared that if the film does well, a sequel will happen and hopefully in conjunction with Sam Raimi’s work on Army of Darkness 2. Here’s the kicker, Alvarez then declared he would like there to be a seventh film in which both franchises crossover  (the one and only Bruce Campbell optimistically concurred). Let the influx of fan-fic commence!  A sneaky piece of footage (premiered at World Star Hip Hop) was also shown at the panel,which you can see below...

So those were my highlights and that's it for another year at WonderCon. I think it is safe to say there are a few things to look forward to in 2013! 

News: Eli Roth’s Hemlock Grove Boasts Impressive Werewolf Transformation

Hemlock Grove is an up and coming television series produced by horror film maker and Goretorium owner, Eli Roth. Based on the Brian McGreevy novel, Hemlock Grove is set in a former Pennsylvanian steel town. After 17 year-old Brooke Bluebell is brutally murdered, the town proceed to hunt for her killer. Some inhabitants become increasingly suspect, specifically gypsy trailer-trash-come-werewolf Peter and rich-kid Roman. But obviously nothing is what it seems and 'the monster within' becomes a pretty important theme. 

Last week, several trailers were released to promote this new series coming to Netflix. One of which can be seen below:

I have to say that after seeing said trailers, I wasn't particularly enthused. It struck me as a little Twilight-esque, with pretty people staring broodily at one another, indulging in a little more drugs and sex, heightening that teenage angst. Not to say that there is anything wrong with that, but I had expected more horror from the gentleman who has brought us films such as Cabin Fever and Hostel. Furthermore, in a post-Walking Dead age, television series shouldn't be afraid to show a few more blood and guts these days. 

So, as if by magic, in the past 24 hours IGN released a snippet of Hemlock Grove which just so happened to feature Peter turning all wolfy in an impressive transformation scene. Here it is...

Eyes and teeth falling out? Check. Audible bone crunches and body misshaping? Check. Turning into an awesome werewolf?... Oh wait, maybe not. But i'll let that slide for now, as this particular kind of metamorphosis has a lot to live up to. When people hear 'werewolf transformation scene', thoughts automatically go to the brilliance of Rick Baker and his genius work in An American Werewolf in London. It would be wrong of me not to remind you of that...

This particular sequence set the bar incredibly high and no one has come close to matching it since, not even Hemlock Grove’s release today. Nonetheless, it’s a bloody good try and unfair to compare. Overall, IGN's release of this Hemlock Grove snippet restored my faith and expectations to the series - we can safely assume they have a few horrific tricks up their sleeves...

What did you all think of Peter's transformation scene? Post a comment! 

Review: The Walking Dead: Season 3, Episode 15 - This Sorrowful Life

(Spoilers!)

Tonight’s episode is the penultimate installment of Season 3. We have a break from Andrea’s turmoil this week and instead spend time with Rick and the gang, where ones conscience plays an important theme.   

After Rick and The Governors previous meeting, they had supposedly made a deal, a truce. If the prison hands over Michonne, they will be safe and forever left alone. Under the Ricktatorship in which the prison had been following, Rick was effectively the decision maker regarding Michonne and the rest of the groups lives. He had to address the age old debate, would you sacrifice a life to save many? Rick had decided to hand over Michonne and after clueing in Herschel and Daryl, they formulated a plan in which Merle was the appointed person to accompany Michonne to The Governor’s vengeful and torturing ways. Merle acts out Rick’s wishes by effectively kidnapping Michonne and taking her from the prison. Typically after this happens, the conscience cogs start turning and Rick changes his mind - he cannot go through with sacrificing Michonne for the safety of the entire group. Only it is too late and Merle and Michonne are well on their way. Daryl makes haste, in a hope to stop them.

En-route to Woodbury, the chemistry between Michonne and Merle is evident. In a sort-of mini road movie typology, both assess their behaviour and roles in this new apocalyptic life, whilst trekking and driving through various landscapes. In a bizarre way, they both have a lot in common as outsiders of the group. Merle emotes this position of his more so, accepting his given role by both The Governor and Rick. His job is to do the dirty work no one else wants to, because morally, he has no issues in getting it done. Not this week however. For the first time we see Merle dealing with his conscience and a glimmer of humanity is present. He gives Michonne her sword and lets her go, declaring there is something else he has to do. This character discourse is an effectively shot sequence by Greg Nicotero who, ironically for a man of visual flare, kept the framing simple and static, letting the talking well...do all the talking. 

Now alone in the car, Merle enjoys a few swigs of some non-descript whiskey whilst listening loudly to country rock’n’roll, attracting a sizeable horde of walkers. He slowly leads the car and these new  un-dead companions into the path of The Governor and Woodbury gun men. Executing a perfect ghost-car prank, Merle exits the vehicle and takes cover in a close by abandoned building, shooting down the gun men whilst they are bemused and distracted by this sudden disruption. It is Merle’s way of righting his wrongs, rectifying his past actions. All goes to plan for a while until he is inevitably caught by The Governor, who wastes no time in letting Merle know what he thinks of this act of deception and attack. 

Cut back to the prison, post-Glen and Maggie engagement (it’s nice to see chivalry isn't dead even if the world has gone to shit), and Rick has gathered the group together. After losing a few lives in the prison and his mental stability, and accidentally sending a group-worthy Michonne to her death, Rick‘s conscience is plaguing him more than ever. He tells all and apologises to everyone. Understandably he concludes that perhaps a one-man leader, a Ricktatorship, is not a good idea. He eloquently states, “I am not your governor”. It is decided that they stick together, make joint decisions, and stay in the prison or run.  We have to wait until next week to see what the group decide to do. 

Elsewhere, Daryl eventually reaches the carnage that had unfolded post-ghost-car prank. Various half-eaten dead bodies litter the ground and walkers are still casually feasting. What follows is a brilliantly executed piece of acting by Norman Reedus, comprising this series second most tear jerking moment. With that... I shall say no more. 

Another brilliant episode this week, showcasing Nicotero’s penchant for directing and the shows clever, continual build of emotion, tension and suspense between characters. Next week is sure to be a dramatic and explosive finale. I’m thinking, get your tally chart ready for those body counts. 

Top Walker Kill: Merle accidentally sets off a car alarm whilst trying to jump-start it. With his head buried under the dash board, he is unaware of the horde of walkers fast approaching – especially toward Michonne who is tied to a pillar with her wired handcuffs. Queue some brilliant head-stomping action and wire cutting skills. 

Feature: Cult, Hard to Please and Unlikable Trees; Part 1 – How and Why The Evil Dead is a Cult-Horror Classic.

Now I know I cannot vouch for every Evil Dead fan out there and their reasoning for loving the trilogy. Of course it is an entirely subjective matter, deduced from personal preferences and experiences. But we can still discuss and make assertions, hell that’s half the fun of film and television after all. So for part 1 of this Evil Dead season, I will share some wise words on how and why The Evil Dead (Raimi, 1981) is a cult-horror classic. In doing so, picking out some super cool bits from the film which we know and love.

I guess before I start, it’s worthwhile attempting to define what we actually mean by cult film. In a very broad and over-arching way, it is a text that is situated ideologically outside of the mainstream. This is true of many horror films as they exist on the boundaries of taste. Be it excessive gore or rapey trees – horror is not for everyone. But as Umberto Eco accurately questions, ‘What are the requirements for transforming a book or a movie into a cult object? The work must be loved, obviously, but this is not enough’ (1987, pp. 197-198). Part 2 of this Evil Dead season will be about our love for the text and how such appropriation elicits a cult sensibility. Also why, therefore, our initial reaction to its remake was less than favourable – how dare they touch our beloved! Until then however, this part will consider Evil Dead as a cult text visually.

Referring back to Eco, he believes that a cult film is a completely furnished world so it is quotable, so audiences can ‘break, dislocate, unhinge it’ (1987, p. 198), into a ‘series of images, of peaks, of visual icebergs’ (p. 198). In other words, pin-point favourite bits creating “magic frames” – frames that, when they appear in the movie, can be separated from the whole, transforming it into a cult object (p. 200). He calls them visual icebergs; we call them Ash-isms, blimey-that-tree-is-brutal or yes-I-love-this-bit! Regardless, these stand-alone moments within the film are what make it loveable, memorable...cult. 

Whilst there is plenty to choose from, here is a somewhat encompassing list of the films visual icebergs; the most brilliant and notorious moments...

Camera technique

Raimi uses a distinctive camera-run, chasing our trouserless protagonist through the woods...

...obscure camera angles...

...and 180 degree pans....

...as an effective mechanism to heighten tension, suspense and just generally allude to the surreal sense of bat-shittery that goes on in this cabin.

An unlikable tree

One of the films most notorious sequences and perhaps for the horror genre in general, is an encounter with a rather horny tree. Still a bit of a shock to this day.

Forever changing the way you look at pencils...

The first bit of relentless gore that the film has to offer. Memorable and effective - can't help but wince. 

HFX

The horror FX in The Evil Dead are brilliantly over the top...

Whether it is to fashion a Deadite ...

Or destroy one...

... blood and ooze appear to spill out of every orifice - affirmation of the films existence in the margins of taste. Ludicrously enjoyable.

Quotable Dialogue

For me, Evil Dead II provides the most quotable and memorable lines but there are still a fair few in The Evil Dead, some of which are in this video...Enjoy!

That's it for Part 1. Hopefully in a roundabout way I've demonstrated how The Evil Dead is a cult text visually, through visual icebergs of stand-alone sequences, visual excess and effective camerawork. Keep your eyes peeled for Part 2: Evil Dead Fandom - the perils of a remake and why us fans are so hard to please.
References: Eco, U. (1987). Casablanca: Cult Movies and Intertextual Collage. In W. Weaver (trans.), Faith in Fakes: Essays (pp. 197-212). London: Secker & Warburg

News: New Evil Dead Poster Released by Sony

Not long now folks! Fede Alvarez's remake of the cult-horror classic, Evil Dead, will hit our UK screens on April 19th. Until then, the marketing department have been eeking out snippets left, right and centre to keep levels of anticipation high. Today Sony released another poster featuring glowing reviews and  here it is...

Can't. Wait.

If you haven't already, check my previous blog post The Evil Dead - Cult, Hard to Please and Unlikable Trees describing an up and coming Evil Dead feature I am writing, in conjunction with the release of this remake. 

Review: In the Flesh; Episode 2

(Spoilers)

Scares were scarce this week – the ‘rabid rotters’ weren't really rabid and only a short sequence of zombie uprisings featured (albeit, very nicely done). Instead drama took precedence, as overt themes of guilt, denial and acceptance became present when new characters were brought into the village of Roarton.

Continuing from last week’s episode, Kieran remains trapped at home. Forced to spend time with his father, pretend –eat at the dinner table and continuously receive the cold shoulder from his sister, it is no surprise that he grasps the opportunity to leave the house when he is left home alone. He decides to embark on a day trip and visit the graveyard in which he was buried – hinting to his death before the zombie apocalypse even occurred. Whilst there, he encounters Amy, a fellow PDS sufferer. This character, at first quite annoying, is actually a refreshing presence. Her positive attitude toward this new post-death identity – choosing to go ‘au naturel’ by ignoring her contact lenses and cover up – creates a more uplifting tone to the episode. Amy is also an effective narrative devise. Whilst getting to know one another better, it is through her questioning that we discover Kieran had in fact killed himself pre-zombification.

Amy and Kieran go to the fairground to ‘live’ a little and the theme of guilt really plays out here. Kieran is obviously still struggling with his previous flesh-eating ways, manifested through the constant and eerie re-appearance of his last victim. Conversely, Amy feels no guilt and justifies their ravenous activities as ‘survival mode’. Both characters hash these feelings out as they move from ride to ride. It is a clever way of breezing through what would be heavy emotional turmoil, perhaps developed further if there were more than three episodes to play with.

Elsewhere in Roarton, more time is spent on developing HVF officer Bill and his family. Last week Bill and his wife discovered that their son Rick, whom they thought had died whilst serving for the army in Afghanistan, was alive... well, partially. He had reached the end of his PDS rehabilitation and was ready to return home. Upon his arrival, both Bill and Rick appear in denial, refusing to address the elephant (or should we say PDS) in the room. They take part in father-son bonding activities, eventually winding up at the British Legion (the local pub for HVF officers) for a few drinks. This pub acts as a particularly effective setting in which the metaphorical implications of PDS can be played out. Be it race, religion or disability, any form of Otherness could be reintegrated here.

Throughout the episode there is an unspoken link between Kieran and Rick. Subtle hints in Kierans room such as letters and portrait paintings allude toward a possible romance that existed pre-uprising. Rick’s casual inquiries to his father regarding the well-being of Kieran and his family are also suggestive of the level of care felt for one another. Oh, and there is the small matter that Kieran killed himself when Rick left for the army. Both finally reunite in the Legion pub in an incredibly subdued manner, but their attraction and elation at seeing one another is abundantly clear. Their relationship was obviously a secret, most likely due to Bill’s expectations of having a macho, gun-toting lothario for a son.  

Their moment of happiness is soon called to a halt as reports draw in of a ‘rabid rotter’ wandering in the woods. The HVF grab their weapons and make haste, Rick and Kieran also follow. It is in the woods that the theme of acceptance really comes to the forefront. After an effective and emotional heart-to-heart between Rick and Kieran (wonderfully written and performed in such an understated and effective manner), both characters go searching for the reported ‘rotters’. They are eventually found, but ‘rabid’ is most certainly not the word that would describe them. They are docile and caring for one another...even if they are eating flesh at the same time. It is a short moment of tranquil, which ultimately ends when Rick pulls a gun on them. Kieran stands in the way, effectively declaring that Rick cannot kill one of his own. Rick is most definitely in denial, unaccepting of his new identity and still believing himself as a soldier, not a PDS sufferer. Kieran’s protest pays off however, as he gets through to Rick. The not-so-rabid rotters are saved, so to speak, and set on the path of rehabilitation.

The lack of scares and increase in drama this week was by no means a negative quality. The character development is brilliantly dealt with considering how little time the show’s creators have. The almost harmless nature that the ‘rabid rotters’ had this episode was an interesting and provocative twist on traditional genre formula, cleverly bringing into light further questions regarding the morality of the HVF. Most of all, the romance between Kieran and Rick is a beautiful addition to the series, adding further emotional depth to the shows narrative – what will be easier for Bill to accept? Rick's PDS? or the romantic relationship between him and Kieran? It will be interesting to see how this all comes together in the last episode. After tonight’s developments however, it is a shame it has to end so soon. 

Keep your eyes peeled for the review of the final episode of In the Flesh. And if you feel like giving this series a go, the links to episode one and two are below...

Episode 1 

Episode 2

Review: In the Flesh; Episode 1

(Spoilers)

On the 17^th March, BBC3 aired the first episode of a new series entitled In the Flesh. Created and written by Dominic Mitchell, this three-part drama is set in the Norfolk, post-zombie apocalypse. The central protagonist Kieran Walker, is a zombie teenager reintegrating back into the community.

In the wake of Warm Bodies, there is a fair amount of criticism toward this recent, wholesome approach to the un-dead. In the Flesh may not please die-hard zombie fanatics and attract similar criticism; however, I personally found it a positively interesting approach and thoroughly enjoyed the first episode. It was a well-balanced hybrid of drama, horror and comedy with nudges to generic traditions, ticking all the boxes - I can't wait to watch the next two installments.

Kieran Walker is a Partially Deceased Syndrome (PDS) sufferer, in the latter stages of rehabilitation. After daily medication (to prevent turning ‘rabid’), group therapy sessions and progress meetings with a doctor, he is safe to return home to the Norfolk village of Roarton. Here, we are treated to various dystopic shots of barren landscape, derelict buildings and “missing” posters, all reminiscent of the abandoned London sequences in 28 Days Later. These are nice subtle signifiers of the tragedy that ensued post-zombie apocalypse, the causes of which remain undiscovered. In Roarton, we are introduced to Kieran’s mum, dad and angsty sister, Jem. She belongs to the Human Volunteer Force (HVF), a group of self-appointed soldiers who protect the community, exterminating all “rotters”. Despite government induced protection laws on the PDS sufferers, the HVF are adamant that “Rotters are rotters, drugs or no drugs” and will continue to protect Roarton by any means. This PDS/HVF binary provides the episode with its emotional tension (one that will no doubt cover the entire series) – who should Jem side with, her PDS suffering brother or the totalitarian HVF in which she is respected?

Her loyalties are tested in one of the most chilling sequences of this episode. The HVF get word of a PDS sufferer living in the neighbourhood so they soon grab their weapons, ready to exterminate. Believing it to be her brother, Jem decides to warn her family so they can hide Kieran and prepare for an attack. However, the HVF instead visit an elderly neighbour, Maggie. In a moment of unforgiving brutality, Maggie is dragged into the middle of the road. After a brief toy with her emotions, she is shot in the head. It is a tough sequence and proof that the HVF are not really the heroes of Roarton after all. Also, it's another shining example of how zombies are brilliant vehicles to highlight the horrors of humanity.

As I have already mentioned, some may dislike this addition to the zombie canon. It is a large step away from the soulless flesh eaters we are used to seeing. However for me, it is a welcome take on the genre. The PDS sufferers are handled in a clever and effective manner; with creative nods to zombie traditions. Vacant eyes and gormless shuffling feature throughout, paying homage to previous zombie creations. There are also one or two nice gory moments to provide some horror.

The narrative trope of rehab is also a welcomed development. Group therapy, campaign posters (see below) and community nurses for the PDS sufferers are well integrated into the plot. Side note -  it is oddly entertaining to see a would-be horde queue in an orderly fashion, waiting to see a doctor. It is the small details that make all the difference.

On a final note, Luke Newberry as Kieran Walker is absolutely brilliant. His performance is incredibly emotive and I can't wait to see how his character develops over the next two episodes.

Stay tuned for some wise words on Episode 2 tonight! 

News: Trailers and Teasers for World War Z and Dexter Season 8!

(Spoilers)

Two big things in the world of film and television have been released over the past 24 hours or so. First up, Dexter Season 8.

On June 30th this year, Dexter returns to our screens for its eighth season. Showtime have been very kind and provided us with a little teaser. See below...

Unfortunately no new footage has been released yet, but even this short video listing all of Dexter's victims has began a surge of excitement. The end of Season 7 was definitely a game-changer, especially regarding Dexter and Deb's relationship - it will be interesting to see how the production team deal with this in the upcoming season. However the teaser ends with the words "They're done, he's not" and I can't help but feel...maybe he is done? Don't get me wrong, Dexter has been a brilliant character to grace our screens for quite some time (Seasons 1 and 4 have been particular highlights for myself), but how much longer can this battle with his 'dark passenger' continue? What can the creators of the show do to keep us audiences interested? Unfortunately only time will tell what tricks are hiding up their sleeves...



Up next, World War Z. This follows a United Nations employee, Gerry Lane, who travels the world in a race against time to stop an apocalyptic zombie threat. Paramount have released the second trailer for this action-horror hybrid, starring Brad Pitt, Mireille Enos and David Morse, and here it is...

Unfortunately I haven't read the novel from which this film is based so I do not have much in the way of expectations. However from taking a brief look at fan discourse from various other sites, it seems the general consensus is not one of high praise. The second trailer doesn't really boast any new footage apart from an unfortunate aeroplane incident, but boy, it seems they really are trying to play down those zombies. There are no close ups but brief shots of CGI masses that defy gravity (also see the theatrical poster below, leaked by IGN today) - not the usual kind of walking dead we are used to seeing. Although, we must remember this is a high-budget, action flick due for a summer release (June 21st), so zombie detail is not the main priority. Instead, it is the A-list stars, big explosions and mid-flight accidents that are emphasised, ticking those 'epic' boxes to draw audiences in during the summer months.

That's all for today - keep your eyes peeled for tomorrows post! 

Feature: The Evil Dead Season - Cult, Hard to Please and Unlikeable Trees

The first time I saw Sam Raimi's classic The Evil Dead, I was an impressionable teen slowly discovering the delights of horror film and I could not believe the thrill ride I had just experienced. It is a film of wickedly fun craftsmanship, subjecting audiences to overt gore and surreal, Dali-esque camera work. The film is abound with slicing, dicing and gushings of blood amidst cheesy dialogue and glorious over-acting. It is an exhilarating 85 minutes of thrills, spills and... an unpleasant tree to say the least. Not only that, but I’ve never looked at pencils the same way since. To this day, The Evil Dead remains one of my all time favourite horror films and controversially, my favourite installment in the trilogy. Let’s just briefly remind ourselves of some of its delights... 

It is no overstatement to say that Fede Alvarez’s Evil Dead is one of the most highly anticipated horror remakes to hit our screens in years. In preparation for its release (April 5^th) and in conjunction with an essay I am working on, I plan to share some wise words on this horror entity, posting several features – an Evil Dead Season if you will. First, I will explore what it is about Raimi’s film that makes it a much loved cult classic. Following this, I will look at the perils of remaking such a beloved text and why this process gets us fans all riled up. Lastly, and if all goes to plan, this will be followed with a review of Alvarez’s remake. If anything is to be believed of those lucky critics in the US who have managed to see it already (Fangoria, Dread Central, etc), we are in for one hell of a thrill ride. Of course, this is a topic so well covered I have a greater chance of becoming a winged deadite than being original. Nonetheless, it is a film that I, along with many others, am very passionate about and will take great joy in discussing, as I hope you will reading. So, keep your eyes peeled for the next installment of this feature. Until next time, here is the trailer for the anticipated remake, of which I'm sure you have seen a hundred times already (I know I have) but hey, can't hurt to have another look...

Review: The Walking Dead: Season 3, Episode 14 - Prey

(Spoilers!)

Due to the lateness of my blogging, I have missed out on a fair few posts on The Walking Dead. If I had Bernard's Watch, I'd quite happily go back to Season One and start again, review each episode and revel in the zombie craft work of Greg Nicotero and his FX team (side note - stay tuned for a special feature in the future on his HFX work). Alas, Bernard's Watch disappeared in the 90s. So instead, i'll keep this snappy. The Walking Dead is, in my opinion, a bloody brilliant television series keeping the done-to-death zombie genre alive. Intense character development with intervals of wonderfully gory zombie dismemberment is a recipe for success in my mind. Yes, as each season develops, it becomes markedly different from the graphic novels, but we cannot compare two entirely different mediums. Instead, let's critique and appreciate them as different entities. 

I had planned to do a quick recap of Season Three so far, but 'quick' does not do it justice. All I will say is this, if you haven't started it, please do, it's the best yet. So, after that hap-hazard introduction, lets get down to business and review Season Three, Episode 14; Prey. Or what I like to call Andrea's hour.

Tension continues to ooze this week as the Governor's ethics and the safety of Woodbury is continually questioned. Upon discovering the Governor's true plans to attack the prison, Andrea decides she must flee and warn Rick and the gang. She escapes and makes her way to the prison, her perilous journey comprising the majority of this episode. Meanwhile, Tyreese and Allen are continually disagreeing on their place within Woodbury. Allen appears supremely happy with his new gun-toting responsibilities, whereas Tyreese questions the morals of Woodbury's citizens, as they are sent on a mission to retrieve some walkers, or 'biters', to bring back to their walled 'safe haven'. Milton also suffers with an ethical and moral dilemna this episode. Upon the slow realisation of what the Governor is truly like, he is unsure where to place his loyalties. He feels inclined to stay in Woodbury as it is "where he belongs", but the ever present threat of danger and immoral activity can no longer be ignored, nor does he want to be a part of it. Milton is emotionally torn, fully aware of the consequences toward his safety if he too were to flee Woodbury. It is a subtle piece of character development that works rather well. Whilst it is gratifying to see that the Woodbury charm is not fooling everyone, the spotlight of this weeks episode primarily shines on Andrea and the Governor.

Andrea has been a fairly unlikable character this season, her constant indecisiveness and naivety has been somewhat infuriating. However, this week was definitely her time to shine, particularly in an intense showdown with the Governor. Mid-trek to the prison, Andrea is eventually chased down by him, angered by  her act of betrayal. He cannot let her warn the prison, weakening his position of attack. She takes cover in an abandoned factory, in which the Governor follows. An intense game of cat-and-mouse is played between both characters, reminiscent of the slasher genre during its prime in the 1970s and 80s. The use of lighting is particularly effective here. It heightens intensity, producing an enigmatic threat - who should we be more scared of, the Governor or walkers lurking in the shadows? Metaphorically, it signals the Governor's ever pacing decent into a menacing sadist, emphasised by his foreboding whistling. Think Kill Bill Vol. 1... but creepier. Overall, it's an incredibly intense and wonderfully crafted sequence, one I will not divulge in any further, but for me it was definitely a highlight of the series. 

Other highlights include some brilliant zombie FX. Towards the end of the episode we return to the captured walkers, prepped and ready to be transported back to Woodbury. However, a mysterious figure douses them in fuel and sets them alight. We soon see the consequences - a pile of writhing walkers with some pretty serious third degree burns. Any attempt of an in-depth description will not serve it justice but once again, it is a brilliant example of how such effects from Nicotero and his team make all the difference - so keep your eyes peeled for that sequence.

The only criticism I have thus far is of Tyreese and his band of survivors. I can't help but feel they were introduced at the wrong time. The central focus on the Governor/Woodbury and Rick/the prison leaves little space for Tyreese and his friends to develop. An attempt was made this episode, with questions of masculinity and a battle of egos frequently intercepting throughout. However it felt forced, almost a way to pass time until we can watch Andrea or the Governor again. But who knows, Tyreese and his gang may hold prominence in the last two episodes of the series, which after tonight's installment, promise great things and quite the explosive finale. 


Top walker kill: During Andrea and the Governor's intense showdown in the factory. The Governor comes face to face with a walker, an encounter short-lived as he knocks the walker to the ground and plants a shovel right between the eyes. Queue a short snippet of gory fun. 

How did you feel about this weeks episode? Post a comment!