Review: American Horror Story: Coven, Episode 7 – The Dead

Spoilers!

It’s another impressive episode of American Horror Story this week, as The Dead foregrounds the show’s ability to balance the abject crazy and emotionally hefty themes. Amidst a stylish sensibility and humorous tone, characters struggle to determine where they belong. 

Cast your mind back a week or so, and you'll remember Madison was brought back to life thanks to the resurrecting powers of Misty. From her opening monologue, we are introduced to a resultant existential crisis – the burden of being a walking corpse, of existing in liminal space and unable to feel anything. If Kyle could talk, I’m sure his issues would run along the same path. Both are clearly struggling to determine where they belong - whether it’s amongst the dead or the living. Until they figure it out, it seems that having sex against a wardrobe, or random threesomes with Zoe, is a way to feel something at least. 

Unfortunately, Kyle remains a rather limited character at this time and whilst his physical performance is impressive, the novelty of this particular arc is beginning to wear off. Contrasting this is Madison’s character that has ironically come alive since her death. Her hardened bitchiness is executed comically and effectively, and whereas her depiction as an atypical American youth felt a little two-dimensional, recent developments have added another layer to her characterisation.

In a similar vein, Fiona spends the entirety of this episode in existential despair. Suffering with cancer and on the brink of spectacular downfall, she examines her life and the mistakes she has made - most noticeably the lacking relationship with her daughter. In a continuation from their foreboding meet-cute last week, Fiona finds comfort and solace over this crisis in The Axeman. It starts as a purely physical connection, but secrets soon unravel and Fiona discovers The Axeman has watched and loved her from afar (as a spirit) since a very young age. Depicted through a particularly stylish and seamless ellipsis, this revelation is well thought-out, and actually rather sweet. Perhaps as two supernatural beings with a penchant for killing, the only place they now belong is in one another’s arms. 

Spalding has a shining moment this week, conversely without perilous existentialism. Rather, he knows where he belongs - serving the coven. To determine the truth of Madison’s death, and as an act of vengeance, Zoe restrains him, finds his cursed tongue and attaches it back to his body - she has questions that need answers. In a fantastic sequence, with his tongue intact, Spalding talks again. It’s a thrilling moment, wonderfully physical and brilliantly acted, where his loyalty to the coven is ultimately thwarted by his own bodily betrayal. Amidst the declarations of familial adoration for his work, he reveals it was Fiona that killed Madison, before being violently stabbed and suffering an untimely death. We can only hope that Misty works her magic here again, as it’s a shame to lose such an animated character. He belongs in this series. 

The main character dynamic from The Dead this week however, is the relationship between Queenie and LaLaurie. Over the past few episodes, they've turned into quite the unlikely twosome, whose increasing bond has been effectively crafted and a joy to watch. Both Gabourey Sidibe and Kathy Bates share an unlikely on-screen chemistry, made to shine through entertaining dialogue. This is most notably seen this week as they visit a fast-food restaurant in the middle of the night. As they sit feasting away, the sequence is littered with a sweet, sentimental and humorous sensibility. 

This idyllic hang-out is not made to last however, as Queenie begins to question her connectivity to the coven. In a quest to belong, curiosity leads her to meet with Laveau, who further confirms, “voodoo doll belong in the house of voodoo”. Some bargaining is had and it is decided – if Queenie wants to join the voodoo clan, she must bring LaLaurie to them. This narrative twist could have gone either way and it is a refreshing surprise to see an American show take the bleaker way out. Queenie betrays LaLaurie and hands her over to Laveau, who promptly locks her behind bars, ready for torture. As it happens we can’t help but wonder – is this just an evil woman getting her comeuppance? Or is this a sad tale of failed retribution and friendship? 

The true magic of Coven really stands out this week, as we witness how the show can once again transgress from tongue-in-cheek craziness, to emotional depth and hefty themes, whilst consistently delivering strong performances and a stylish aesthetic. This series is definitely on a winning streak and with a mid-season break now in place, The Dead has left it on a very high note indeed. 

What were your thoughts on this episode? Post a comment!

News Update: Director announced for Day of the Dead remake

Sigh, you'd think after Steve Miner's remake of Day of the Dead in 2008, any re-imaginings of George A. Romero's zombie classic would consequently be left well alone, left to the master... and Bub. Well no such luck, as it has just been announced that Mark Tonderai will be the director of yet another take on this tale of the undead.

Tonderai, whose most recent work includes House at the End of the Street in 2012, is in charge of this modern-day retelling, situated years after the zombie plague has wiped out most of the Earth's population. In this apocalyptic state, a group of scientists and survivors attempt to find a cure, but only make matters worse. Tonderai has also written the script with Lars Jacobson and production is due to begin in the Summer of 2014. 

Until then, lets remind ourselves of the brilliant original...

Stay tuned for further updates!

News Update: Guillermo del Toro's The Strain on FX

Have you heard of The Strain before? Published in 2009, it is a vampire horror novel written by Guillermo del Toro and Chuck Hogan. It tells the story of Dr. Ephraim Goodweather - the head of the Center for Disease Control Canary Team in New York City. He and his team are asked to investigate a virus outbreak that possesses a strain of ancient, evil vampirisim. As the strain spreads, the team and New York city embark on a war to save humanity. 

In the past week it has been announced that the television channel FX has placed a 13-episode series order of The Strain, to be helmed by del Toro, Hogan and writer/producer Carlton Cuse. With production beginning at the end of the month, the aim is to have it premiere on our screens in July, 2014. 

Eric Schrier and Nick Grad, the presidents of original programming for FX Networks and FX Productions, have commented...

"We could not be more excited to be moving forward with Guillermo, Carlton and Chuck on The Strain. This is an epic story with stunning visuals and remarkable acting. The strain totally re-imagines and re-invents the genre"

del Toro has stated a similar sense of enthusiasm for the project...

"The Strain books are near and dear to my heart and now, Chuck and I have the blessing of a partnership with Carlton and FX that holds great promise... Working with FX has yielded an amazing experience with total creative freedom and support". 

This comes as no surprise, given the channel has previously (and continues to) support shows such as Nip/Tuck, Sons of Anarchy and American Horror Story.

Cuse shows a similar sense of enthusiasm, as he states...

"Working with visionary filmmaker Guillermo del Toro and the team at FX has been a dream come true for me. Guillermo's epic, cinematic pilot for The Strain starts a chilling and compelling story that will upend everything you thought you knew about vampires"

Altogether, combining a bold and creatively supportive television channel with a world class filmmaker, who has a penchant for things of a dark and supernatural nature, is a very smart move. Keeping our fingers crossed, we can somewhat assume that come 2014, we are in for a thrilling treat indeed.

Stay tuned for more updates on The Strain!

News Update: Will Winona Ryder return for Beetlejuice 2?

More good news for Beetlejuice fans - well, only if you're excited about this sequel - but it appears Winona Ryder is very interested in returning to the character of Lydia. 

Without revealing too much detail, in discussion with The Daily Beast, she explained...

"I'm kind of sworn to secrecy... but it sounds like it might be happening. It's not a remake. It's 27 years later. And I have to say, I love Lydia so much. She was a huge part of me. I would be really interested in what she was doing 27 years later". 

Her reunion with the rest of the original cast and crew is of great importance to her however...

"It's a very precious movie to people, so there are a lot of people like 'DON'T'...I would never go near [a sequel] if it was not Tim and Michael. Because those guys, I love". 

As ever nothing is official, but Ryder's involvement would certainly garner a welcomed sense of fidelity. 

Stay tuned for more Beetlejuice 2 updates! 

News Update: Hammer to remake The Abominable Snowman

So this is a little out of the blue, but Hammer have just announced they are working on a new version of The Abominable Snowman. In a statement released earlier this week, they revealed...

"President and CEO of Hammer and Vice-Chairman of Exclusive Media, Simon Oakes, announced today that Hammer, an Exclusive Media company, will produce a new version of The Abominable Snowman. The project is being developed by Hammer in association with Ben Holden (The Quiet Ones, The Woman in Black: Angel of Death)"

This adaptation of the Hammer original (released in 1957) will be a modern take on the yeti myth, following a scientific expedition's illegal assent up an un-climbed peak of one of the world's most formidable mountains. Their journey awakens an ancient creature, leading to undeniably sketchy circumstances. 

This announcement marks Hammer's continuous campaign to maintain their heritage and produce quality British horror for modern audiences. So far their success has been outstanding, with The Woman in Black becoming the most successful British horror film of all time. Let's hope with this recent announcement, that Hammer will achieve such wonderful things for the genre once again. 

Stay tuned for more updates!

Review: The Walking Dead: Season 4, Episode 6 – Live Bait

Spoilers! 

The eye-patch is back ladies and gentleman and boy do we have questions. What has he been doing all this time? Where has he gone? Just how angry is he? In this episode of The Walking Dead, these burning questions are answered (well... sort of), in an hour long, controversial Governor feast. 

Live Bait follows on from The Governor’s massacre of his people in Season Three’s Welcome to the Tombs. After spending a night angry, bitter and unsatiated he awakes to find his remaining two comrades gone - he is alone and apparently responds to this by burning down every last vestige of Woodbury. Is this an evil, selfish act? A message to say ‘no one can be safe unless I’m in charge’? Or is this an act of redemption, the first attempt to eradicate his past and start over? These questions somewhat epitomise the entirety of this episode and lay at the heart of its controversial choice in characterisation. Who is The Governor now? 

In a bizarre time lapse, we cut to The governor as a broken man with no will, no strength and no food – just a lot of beard. This perplexing ellipses has led us from one character extreme to the other and as a clear episode dedicated to characterisation, more time on this transition would have been extremely beneficial. Heck, it would even be more enjoyable given that the sequences in which The Governor wanders the streets, not even mustering the energy to fend of walkers, are incredibly effective. Nevertheless, before we can muse too much over this qualm we are faced with a different transition, as The Governor integrates into a new family. 

Mid-wander he is welcomed in by a few survivors, and it is not long before The Governor's hardened stoicism relaxes, mainly due to the 13 year old girl that is a blatant substitute for his recently deceased daughter. He eventually burns away any evidence of his old family, before fully integrating into a new one. Before we know it, he's actually talking and taking part in selfless deeds. He risks his life to retrieve Backgammon for the young girl to play and he fends of walkers to pick up a few oxygen tanks for a man who is dying of lung cancer. These moments not only provide the action set-pieces for the week, but also hold a far greater poignancy. As a broken soul, a king rid of his throne who has spent a vast amount of time alone - could this new family mean a new Governor? 

It's a controversial move to depict such a notoriously evil character in a redemptive light, heck it’s uncomfortable and not because of David Morrissey - throughout this episode his performance is faultless and proof that he can definitely hold his own. The discomfort is more associated with incoherence and anticipation, as every minute is spent half suspecting events to turn and for The Governor to shoot everyone down in a moment of madness. Alas - no such luck - but there are a few hints that suggest the old Governor still lurks amongst these selfless deeds. 

The chess game with his newly adopted daughter held great significance and acted as an effective, if not obvious, metaphor. A chess game, much like The Governor’s path, is a slow journey to victory – you may take a few hits or lose a few men, but there is still a slim chance to defeat. Furthermore when threatened by walkers, he shares no hesitation in unleashing a telling amount of strength and anger that clearly lies deep within. Not to mention, his appearance at the prison in last week's episode points toward some unfinished business he wishes to attend to. It's just how we get from A to B that this episode doesn't quite answer.

So is he a man on the path of redemption? Possibly, and on the face of it this episode definitely tells it so. Although I think caution is necessary if believing such a controversial piece of characterisation. After all, I can’t quite imagine that his silent lurking outside the prison walls will culminate with a white flag and an apology. 

Instead, it could be that his new found family was just the battery re-charge he needed. He’s shaven and ready for action, with a new found vow to protect. Although, after a run in with his previous comrades, it is quite likely he will disapprove of being under someone else’s command. Similarly, he will definitely do anything to prevent his new family from hearing about his sadistic past. Timing issues aside, Live Bait does a neat if not controversial job of exploring a character and setting up a foreboding situation. Let us not be fooled by these acts of love and kindness, The Governor's dark side remains. 

What were your thoughts on this episode? Post a comment! 

Review: The Walking Dead: Season 4, Episode 5 – Internment

Spoilers! 

Another strong episode of The Walking Dead this week, as the pressure is on for our prison dwellers. With the flu-like symptoms worsening, surrounding prison fences breaking and the consequences of Rick’s decision looming – how will he and Herschel step up as leaders?

In all honesty, Internment is Herschel’s hour to shine. Still in the quarantined zone he moves from cell to cell, placing comfort above all else, as the number one priority for his patients. In some ways, he is the complete opposite to Carol. Rather than burning the infected he looks after them, keeping them alive for medication that is hopefully on its way – he is fighting for their survival. He is a man of true care and compassion, even disposing of dead victims in a discreet manner so not to worry the other patients, even though they most likely know the outcome. A miracle worker to some, a "tough son of a bitch" to others, in essence Herschel is the man.

Nobody can deny this either, especially when the shit hits the fan and half of the flu-victims turn into walkers, overrunning the cell block. It’s yet another impressive set piece as tight frames, dark lighting and claustrophobic corners convey a sense of true chaos, whilst Herschel attempts to control the situation alone. Even though intensity and apprehension is rife, good old Herschel still finds the time to lure the walkers away from sight, to shoot them off one by one – like a compassionate bad ass, if you will. 

This is not to say he fought the battle totally alone, Maggie did intervene – although primarily to save Glenn’s life – and he may have hesitated once or twice. Nevertheless he stepped up as a leader and a fighter this week, but whether he’ll recuperate from this nightmare is another matter. In conversation with Rick, he still believes a bigger, religious force is at play in this post-apocalyptic scenario, but what's the answer here? Will faith get him through it this time? 

Meanwhile Rick is battling with his conscience following his decision to exonerate Carol from the group. Driving back to the prison, his thoughts are clear – did I just leave Carol to die? Have I made the right choice? After telling Maggie she seemed to think so, no matter how hard a decision it was, but it is safe to say Daryl will not be half as understanding - which is perhaps why Rick hasn't told him the news yet. 

Although where his conscience is clouded, clarity exudes in what it means to be a father, a leader. You can retain a semblance of innocence as a leading figure, whether you find that in farming and munching on a few green beans or not. Yet, in a similar situation to the quarantined cell block, a moment of chaos takes place as the surrounding prison fences break and a horde of walkers infiltrate the grounds. So when a situation calls for it, like Herschel, you can also become a ruthless killing machine and share a machine gun shoot-out with your son. No tight frames or fast editing necessary here, instead just a static medium shot to detail an action-packed annihilation, which makes for an equally effective set piece.

Through internment strong leaders prevail and this week, both Rick and Herschel epitomise this notion. Be it faith, fatherhood or even a few machine guns at hand, the two truly stepped up reigning over intense chaos. But impending flu and walker hordes are easy, it’s an angry Daryl and an eye-patch that may shake the recent feats of our triumphant hero’s. 

What were your thoughts on this episode of The Walking Dead? Post a comment! 

Review: American Horror Story: Coven, Episode 6 – The Axeman Cometh

Spoilers! 

It is only natural that after American Horror Story: Coven’s brilliant Halloween double-bill, that the proceeding episode would be a more lacklustre affair. However The Axeman Cometh is a nevertheless entertaining filler, boasting a few twists, a strong script and a neat take on a New Orleans legend.

The Axeman was a famous serial killer in New Orleans, who roamed the streets between 1918 and 1919. He infiltrated the homes of eight individuals and, as his name suggests, murdered them with an axe. He gained further fame and notoriety when writing an open letter to the press, which you can read here. This jazz-loving, axe-wielding gentleman takes primary focus in this week's episode of Coven, as he haunts the halls of Miss Robichaux’s Academy for Exceptional Young Ladies. 

Played by Danny Huston, The Axeman makes a brilliant villain as a man who encapsulates the alluring and dangerous nature of a charming yet menacing demeanor. Quite simply, he is a joy to watch and his narrative role is played out to the utmost effect, as a vehicle to showcase Zoe and Cordelia's new powers. Yet his apparent continuation into next week’s episode is somewhat perplexing. Is he a long-term addition? Or is this a similar character addition to the likes of Ian McShane in Season Two? Regardless, his foreboding flirtation with Fiona obviously alludes to a further threatening situation. Yet given all the supernatural obstacles over the previous weeks, I’d be surprised if Fiona found herself in true trouble here. 

A more thrilling narrative development is the revelation regarding Cordelia’s husband, Hank. Previously thought of as just a psychopathic, animalistic, serial killer, it turns out he is actually a witch hunter, hired by voodoo priestess Marie Laveau. Working from the inside, he has been using Cordelia to track down the descendants of Salem in order to eliminate them one by one. Although he isn't exactly doing a stellar job, given his virile nature and recent baby making attempts, leading to a rather intense business meeting with the boss. His confrontation with Laveau is a brilliant one-on-one sequence, in which her strength and intimidation prevails - she wants the witches dead, and she wants them dead now. Their sparring is a true testament to Douglas Petrie's script, and that’s not the only time in which his dialogue shines in this episode. Petrie’s work has a consistent snap and flare to it throughout (no surprise here, as he did write for Buffy the Vampire Slayer), in addition to a subtle touch of humor that when used at the right moments works wonders. The interjectory quips when the girls torture Spalding are of particular note, adding a comic twist to otherwise grisly behavior. 

Elsewhere in the narrative, Madison is resurrected, Kyle now resides in Zoe’s full time care, Fiona has started her cancer treatment and Misty refuses to join the academy after feeling some pretty bad vibes – although she has no problem raiding their fridge. Overall, this alludes to The Axeman Cometh as a nice filler, slowly preparing us for the next big showdown – whenever and whoever that may involve. So, no chainsaws or zombie horde’s this week, but a nevertheless entertaining hour. A snappy script, revelations, twists and turns prove that even without the in-your-face crazy, American Horror Story still put on a solid show. 

What were your thoughts on this episode? Post a comment! 

News Update: The Last of Us expansion revealed!

Remember The Last of Us? A post-apocalytpic survival game released earlier this year, that combined stealth, action, horror and heartfelt emotion amongst the backdrop of a beautifully designed dystopia.  It is arguably one of the greatest games to land on the Playstation 3 and consequently the console's fastest selling title. 

Naughty Dog has now revealed the game's first single-player expansion, entitled Left Behind. It will follow Ellie and her friend Riley - a girl introduced in The Last of Us: American Dreams comic series from Dark Horse. 

This announcement was accompanied by a neat little teaser, which you can catch below...

Short but sweet, and surely enough to get fans of the game excited again. Stay tuned for further updates! 

News Update: Robert Kirkman's Outcast

Recently, Robert Kirkman announced his latest comic book series, Outcast. It follows the story of Kyle Barnes, a man who has been plagued by possession since his early years of childhood. In conjunction with this announcement, FOX International Channels (FIC) has partnered with Kirkman and David Alpert to bring this tale of exorcism to television. It now transpires that Cinemax has required the rights to air Outcast in the US...

"[FIC] today announced that Cinemax has acquired the U.S. rights for The Walking Dead creator Robert Kirkman's exorcism drama, Outcast"

Sharon Tal Yguado, Executive Vice President of Original Development and Scripted Programming at FIC has stated, 

"At FIC, we’re committed to creating compelling, innovative television with A-List writers like Kirkman, and with Cinemax we have a partner that is as passionate as we are about this very unique project... Outcast is unlike anything on television and has the potential to become another global phenomenon..."

Similarly, Kirkman has stated...

"Despite the success of The Walking Dead, Outcast is only my second foray into the horror genre.  I think Kyle Barnes is every bit as compelling as Rick Grimes and demonic possession is way scarier than zombies–so this is going to be fun...Starting a new project is like setting off on an long journey and I couldn't ask for better travel companions than David Alpert and Sharon Tal Yguado and I’m thrilled to be a part of what Cinemax has planned for the next few years..."

Could this be another Kirkman success in the works? It's definitely intriguing! Stay tuned for further updates... 

Review: Antiviral

Antiviral is the 2012 feature debut from Brandon Cronenberg. Taking after his father, this film is a foray into the body horror sub-genre, providing a bloody exploration into the dangers of celebrity obsession. Set in the dystopic near-future, society has continued this obsession to a point of absurdism. It appears magazines like Heat just aren't cutting it anymore, and fans instead have the opportunity to achieve a far more intimate, physical connection. Meat is grown from cloned celebrity tissue to be sold in restaurants and similarly, skin can be grafted on to the bodies of hardcore admirers. Most importantly however, is the new-found ability for fans to infect themselves with the same pathogens that their favorite celebrity has caught.

The Lucas Clinic is one of the sole providers of this service, for whom Syd March (Caleb Landry Jones) works as a live virus salesman. In addition to poaching the illnesses from celebrities, March also injects himself with them to consequently sell on the black market. His continual depleting health is exacerbated however, when he harbors a particularly tenacious disease from celebrity Hannah Geist (Sarah Gadon) - his own personal obsession. March fears for his life and ventures out to discover the source of the disease. With a hope to find a cure, investigation ensues, yet the disease proves to perhaps be more than he can handle. 
The narrative concept of Antiviral is a relevant, contemporary issue that makes a rather poignant, effective parable regarding celebrity culture. Just how far will a fan go to feel close to their beloved? and just what are they willing to sacrifice? The harrowing results of a fan's literal, biological consumption of their favored celebrity is an interesting premise, and one nicely explored using March as the main protagonist. His drawn out deterioration (performed well by Jones) is continuously detailed throughout, in accompanying, visceral sequences. 
In one particular moment, March sits sprouting cables from the flesh of his wrists, sporting a blood filter in place of his mouth. This is a prime example of the strong, metaphysical imagery Antiviral boasts, that not only details the aforementioned deterioration associated with this next-level fandom, but also delirium and desperation. Furthermore, throughout there is a consistent, clever use of thick, red blood - tubed or spewed in abundance - to wonderfully contrast the white, sterile walls of March's surroundings, stylishly shot by Karim Hussain's cinematography. If there is anything from Antiviral that will inject your mind, it will be these oddly compelling, corn-syrup-centered moments.

Yet try as the production team might, something is nevertheless lacking about this film. Despite the imagery, the films' message or stylish production, a slightly convoluted plot and misjudged pacing detracts from a wholly immersive experience. These minor issues create an unfortunate detachment that undeniably dilute Antiviral's shock factor. 
Regardless, this is a strong debut from Cronenberg - so from pathogens to genetics, like father like son, we can expect many more great and disturbing things from this young director.
Have you seen Antiviral? What were your thoughts? Post a comment! 

News Update: All-female horror anthology 'XX'

It seems horror anthologies are back in fashion at the moment, with the release of The ABC's of Death and V/H/S 1 &2 to name but a few. Now it is time for the ladies to shine, as according to The Hollywood Reporter, an all-female horror anthology entitled XX is now in the works. 

Each segment will not only be directed by a woman, but also star a lead female character. The line-up is as follows; 

Jennifer Lynch (Boxing Helena)
Mary Harron (American Psycho)
Karyn Kusama (Jennifer's Body)
Jen and Sylvia Soska (Dead Hooker in a Trunk, American Mary)
Jovanka Vuckovic (The Captured Bird)

There will be a total of five segments, each with an individual story. Given the premise we can safely assume XX will be a unique experience, and from the talent listed above, it could also be a rather dark one. 

Stay tuned for further updates! 

Review: The Walking Dead: Season 4, Episode 4 – Indifference

Spoilers! 

It’s another great episode of The Walking Dead this week, as emotional tension is rife amongst two different groups on the road. Whilst Daryl, Michonne, Tyreese and Bob go on the hunt for medical supplies, Carol and Rick effectively do the same but depart ways in one of the show’s most controversial and emotional decisions. 

From the off, this week marks a welcomed and refreshing decision to take action away from the claustrophobic prison walls and into the wild. The suburban street and veterinary college make effective backdrops for both the emotional tension and intense walker set pieces. As Daryl, Michonne, Tyreese and Bob continue to stock up on medical supplies, they naturally find themselves in one or two life-threatening situations. The dark corridors and unfamiliar territory throughout the college truly heighten the intensity and suspense, and overall create moments of thrilling entertainment. Yet it also feels that such surroundings make the perfect accompaniment for the group’s emotional dynamic.

Dark shadows, hidden surprises, murky waters – all elements of their perilous journey and representative of battles with their emotional baggage, be it with The Governor, alcoholism or mourning the loss of a loved one. As they fight their way through each obstacle, a little more about their state of mind is revealed. Yet this journey was by no means cathartic, as an overwhelming presence of anger and vengeance remain and will no doubt become exacerbated once they notice Carol’s disappearance... and the reason for it.

Rick takes it upon himself to also go on a supply run this week, heading for houses in a typical suburban street. After her admittance to killing Karen and David, he feels uncomfortable leaving Carol behind at the prison, so instead brings her along with him. In a similar fashion to Daryl et al., their surroundings aptly reflect their emotional confrontation. In a well lit, open-street space Rick is just as open about his opinion of Carol’s actions.

After deliberating her reasoning and witnessing the occasional moment of heartfelt compassion, Rick makes the controversial decision to exonerate her from the group. Providing her with supplies and a car, he firmly requests that she go elsewhere, find a new group or survive it alone. The ramifications of this decision could be monumental, given the groups high opinion of Carol. Not to mention, Rick’s farming habits have signaled a firm end of the ‘Ricktatorship’, leaving tough decisions to be made by the council, a group of leaders with whom he hasn't consulted. 

Right or wrong decision, and whatever the consequences may be, it is certainly a shame to see Carol leave (for now at least). Not only because the development of her character has been a joy to watch (and thinking about it, it’s amazing just how far she has come), or because quite possibly, we believe Rick made the wrong decision, but because Melissa McBride has been a continuous joy to watch. It is safe to say she left on a high note, with a performance wonderfully encapsulating an emotional dichotomy of strength and desperation.As she drives away, it's hard not to hope for a reunion in the future. 

Two groups, two emotional confrontations - yet whilst Daryl et al., provide the majority of the action in a refreshing and effective setting, Rick and Carol take centre stage. Their emotional confrontation provides the episode with its most compelling, heartfelt and through-provoking material, resulting in a decision that will no doubt incur a reaction far from indifferent in the upcoming weeks.

What were your thoughts on this episode? Post a comment! 

News Update: The Conjuring spin-off?

It is no surprise that, given the monumental success of this year's The Conjuring, a sequel is in the works. However rumors of a spin-off are also circulating...

Sources have suggested that the creepy doll, Annabelle, will once again break out of her glass cabinet and into a fully fledged, feature-length production.

It is believed that filming will begin next year and Director of Photography, John R. Leonetti, will grace the director's chair. 

Nothing official has yet been stated regarding this news, but stay tuned for further updates! 

News Update: Michael Keaton on board for Beetlejuice 2!

Not long ago, Beetlejuice 2 was confirmed to be in the works with Seth Grahame-Smith at its helm, currently working on a screenplay. Tim Burton's return to the directorial chair for the sequel has also been rumored recently.

Fans will be delighted to hear, that the next bit of news surrounding this highly anticipated sequel, is Michael Keaton's almost-obligatory return. 

Given the unstable nature of rumors flying the film nest recently (Army of Darkness II, Ghostbusters III, etc), we should approach this revelation with some caution. However, in a recent discussion with TMZ, when asked if he'd be involved in the Burton-directed vehicle, Keaton responded, "yes". 

No more was said on the matter, and of course, not even Burton's role is confirmed yet, but Keaton's one-word answer is enough to keep fans satisfied for a little while at least...

Stay tuned for more updates! 

News Update: Bruce Campbell denies Army of Darkness 2!

A few blog posts ago, Wise Words... discussed the rumors regarding Army of Darkness 2. Bruce Campbell was quoted from various conventions, hinting at the possibility of the highly anticipated sequel (and his role in it), Fede Alvarez had confirmed its go-ahead and even Sam Raimi was believed to be on board. 

Alas, it seems the rumors were, well... just that, and Campbell has now dismissed them all. In conversation with Screen Rant, he explains...

"It's not news. Let me dispel that right now. It's all internet B.S. There's no reality whatsoever. These random comments slip out of my mouth or Sam Raimi's mouth, next thing you know, we're making a sequel. So unless it's announced from Renaissance Pictures, it's not real. Or unless you have a start date or a release date. We do appreciate people's enthusiasm for another 'Army of Darkness', but they should just wait until its real..."

So there we have it, stay tuned for any official announcements! 

Review: American Horror Story: Coven, Episodes 4 & 5 – Fearful Pranks Ensue & Burn, Witch, Burn

Spoilers! 

Episodes 4 and 5 of American Horror Story: Coven embrace the Halloween festivities by propelling the series into all manners of gloriously gory, thrilling entertainment. Going from strength to strength, these two installments provide more voodoo, more horror and interesting developments, which all round makes for brilliant viewing. 

Both episodes situated within the Halloween arc continue on from Madison’s unexpected murder. Her sudden disappearance has resulted in an investigation by the Council – a trio of witch folk led by the fiery-haired Myrtle Snow. Fiona’s execution of the Minotaur, that injured Queenie, has also resulted in an out-right war between the witches and voodoo priestesses, ending an apparent truce that has been in place for years.

As ever, the script and performances were on top form this week, yet another feat worth mentioning is the show's particular use of flashbacks. They are effectively throughout each episode, to flesh-out back-story and individual character arcs. The attention given, whether great or small, allows some sense of emotional impact that may ensue later on. Whether it’s learning more of Madame LaLaurie’s awful mothering skills or the historical rivalry between Myrtle and Fiona, a greater depth is added to the show’s narrative and for that, it is all the more engaging.

In a similar vein, praise is deserved toward the direction in which the writer’s are taking this series. The show has never been one of a slow pace and each week, new questions always arise. In Coven, it's no different as recent revelations create interesting and intriguing dilemmas. If Madison wasn't the next supreme, then who is? Is it Zoe and her new found power? Following the acid attack, what will Cordelia do with her new clairvoyant skills? Will she discover the true monstrous nature of her husband? 

Speaking of which, his emergent aggression and murderous ways are a neat example of the seamless character development both episodes have demonstrated. Of particular enjoyment is the gradual focus on Spalding. As a man who has a rather large doll collection and enjoys tea parties with the rotting corpse of Madison, he is clearly bonkers. Yet, from his love for Fiona to a warm embrace with a scarecrow, his actions are nevertheless oddly touching, providing a subtle, comedic tone that meshes so well with horror. And boy is there horror...

As expressed in the last review, American Horror Story has always been loopy. Heck, in these two episodes alone we witness a beheaded minatour, crazy sex, an acid attack, a man slice off his own tongue, the resurrection of a burnt witch and two zombie uprisings. Yet amidst the madness, horror has felt lacking in comparison to the previous two series. Thus a pertinent question is raised - given the high-fashion, teenage sensibility of Coven, no matter how brilliantly executed, could the narrative perhaps result in the scaling back of the horrific? Both Fearful Pranks... and Burn, Witch... provide a clear cut answer to this, with relentless gore and spooky material, quenching the macabre thirst of any horror fan.

The voodoo rituals have transgressed into snake-sacrificing, eye-rolling, elevating set pieces that truly evoke a sense of malice, and the once elegant and innocent Cordelia now possesses a nasty, frightful acid-wound. However, it is the show’s foray into the un-dead - resultant from the voodoo work of Marie Laveau - that really propels the show into new territory. The first set piece, situated in a flashback, provides a moment of bodily disembowelment which harks back to the days of Rhodes and his ‘choke on emm...!’ infamy from Day of the Dead. In the present day, when the zombies surround Miss Robichaux’s Academy for Exceptional Young Ladies, there is a definite nod to Night of the Creeps, only to be teamed Braindead, as the once timid Zoe breaks out the chainsaw. From then on, pandemonium breaks loose in the form of unabashed grand guignol - bodily dismemberment is showcased a-plenty. Heads are cut off and arms and legs are severed. The piece de resistance is Zoe’s bisection of a zombie from head to toe, centre-frame for all to endure. LaLaurie’s confrontation with her zombified daughters, whilst emotionally complex, also nevertheless possesses a similar, B-movie aesthetic. With The Walking Dead currently dominating the zombie sub-genre on our television screens, it must be said that Coven's take on the un-dead felt refreshingly fun and nostalgic. Without a shadow of a doubt, not only has this ghastly venture added a much needed sense of grue, but it has also elevated the show to new heights. 

It may well be the Halloween premise that has caused both episodes to take such a wonderfully horrific path, although given individual character developments, it is hard to see the show returning to lighter, more innocent routes. If the past two weeks are anything to go by, the show is approaching some dark territory indeed and it is safe to say that the horror has been firmly placed back into American Horror Story. 

What were your thoughts on these episodes of American Horror Story: Coven? Post a comment! 

Review: American Horror Story: Coven, Episode 3 - The Replacements

Spoilers! 

If there is one thing for certain regarding American Horror Story, it is that the show is absolutely bonkers. The Replacements is further evidence to this claim, as an episode that raises some lofty issues, but forgoes exploration in favor of some revelatory what-the-fuck moments. 

In a similar vein to the previous two episodes of this series, individual character arcs are focused on and developed this week. Fiona continues to struggle with her imminent aging, Cordelia wrestles with the issues of infertility and Zoe strives to look after the recently resurrected Kyle.  Madame LaLaurie is forced to come to terms with contemporary societal values and in an interesting but foreseeable twist, Madison appears to be the next ‘Supreme’. Through each of these narrative tropes, there is an opportunity to explore some incredibly hefty issues, as themes of sex, power and socio-cultral inequality regarding race or religion consequently arise. Credit where credit is due, American Horror Story is not afraid to broach temperament subject matter.

However, at the same time, these issues are majoratively glazed over. The Replacements provides a prime example of how American Horror Story instead focuses on revelatory moments and a style-over-substance sensibility. Cordelia's infertility issue is overshadowed by an imagined fertility ritual involving plenty of voodoo paraphernalia, boiling sperm and the sacrifice of a goat. Kyle’s reunion with his mother takes an uncomfortable turn as her incestual abuse is revealed and despite all manners of racial prejudice, Queenie comes to the rescue of LaLaurie from a predatory minotaur. How you ask? By masturbating in front of it, of course. If that wasn't enough bat-shittery for you, there is also the episode's final moment in which Fiona surprisingly slits the throat of Madison, as their argument over the next ‘Supreme’ reaches boiling point. So, amidst all of this excitement - the incest, voodoo rituals and beastiality - the initial questions of race, sex and power are somewhat overshadowed.

But is this a bad thing? Not necessarily. First off, it's important to note that all of the above is executed with great style. Alfonso Gomez-Rejon does a wonderful job with obscure tracking shots and camera angles this week, that effectively heighten all manners of madness. Equally, the cast continuously deliver incredibly strong performances. Evan Peters deserves a particular mention this week, with his impressive, physical turn as the resurrected Kyle. He manages to capture a select stoicism in addition to timely turmoil and aggression, forming a sort-of Frankenstein's monster for the Twilight-age. 

Above all of this however, we must not forget that American Horror Story is not about depth and verisimilitude. From gimp suits in season one, to musical numbers in season two, we know this show falls more into the ghost-ride, fun-house category, rather than philosophical horror. So even if at times certain issues are raised, we can forgive their lack of exploration. The Replacements reminds us of how they are pushed to the side in favor of more shocking, stylised, fun - even if it is a little loopy.

What were your thoughts on this episode? Post a comment! 

 

Review: The Walking Dead: Season 4, Episode 3 – Isolation

Spoilers! 

It cannot be denied that one of the great joys of the zombie sub-genre is discussing the hypotheticals with fellow fans. How many times have you argued your post-apocalyptic ritual at the pub – debating where to go, where to get the supplies and so on and so forth. More often than not, this discussion amongst peers ends with the golden question – do the zombies walk or run? This week’s episode of The Walking Dead taps into a similar sort of sensibility, by presenting a particularly morally ambiguous episode and reminding us all of perhaps the greatest question of all – what would you do to survive? 

To recap, last week's episode showcased the group’s realisation, following a walker-led massacre in Cell Block D,  that a flu-like disease had infiltrated the prison. Those who catch it ultimately join the un-dead community, so a decision was made to quarantine all those suffering with recognised symptoms. Unfortunately, two detainees (including Karen – Tyreese’s lover) were apparently dragged from their cells, into a courtyard and seemingly burnt alive, leaving Tyreese and us audience members to discover the human remains in the episode’s final sequence. This week, Isolation carries on from this discovery -  so with a murder case on the camp’s hands, in addition to the rapid worsening of disease symptoms, survivors make rash decisions regarding their next move. 

Given instances in the past involving The Governor, Shane or other inhumane secondary characters, we forget that actually, Rick and co. are a relatively morally sound group, and their quest for survival has primarily involved overcoming the ‘bad guys’. So when it is revealed Carol burnt the bodies, a neglected question is somewhat thrown under the spotlight – what would you actually do to survive? With a fast-spreading disease shrouding the prison and those she loves, did Carol do the right thing to protect it? We know she’s not a bad person and as Rick rightly points out - there is nothing she wouldn't do for the group. Her drastic actions were nothing short of a wholehearted attempt to eradicate the disease before letting it spread and causing another massacre. So, is it cold-blooded murder to kill people, who are essentially placing everyone in jeopardy with a mere cough? Tyreese certainly thinks so. 

Carol’s dilemma in essence captures the overriding theme for all characters this week, nicely explored through individual character arcs – what is the morally right thing to do? Should Daryl, Michonne, Tyreese and Bob travel to a veterinary college to retrieve anti-biotics, placing their own lives in danger? Should Herschel sacrifice his health by entering the quarantined zone to look after those suffering? After discovering Carol’s actions, should Rick tell the rest of the group? It is through all of these tropes that the idea of isolation cleverly comes into play and whether it’s physically or emotionally, the moral questions imposed are particularly divisive, overall providing the episode with a rather thought provoking sensibility.

With Carol's ethical issues taking centre stage, it is only right that Melissa McBride shines this week, putting in a performance that simultaneously captures an inner turmoil of instinct, guilt and determination. Equally, Chad Coleman does a wonderful job of transgressing from a loveable-softy into a wounded, aggressive individual, following the loss of his lover. Of note is a particular moment in which he silently lingers behind Carol - there is a true sense of menace there, perhaps a precursor for behavior that is yet to come.

In addition to these standout performances, the tree-walker and bear-trap stunts deserve a particular kudos. Whilst the grandiose reveal of an insurmountable walker horde fell a little flat, the aforementioned set-pieces prove that in order to be the most effective, the walkers work on a more focused, isolated level.

Thought provoking, strong performances and well developed – Isolation is altogether another strong episode for this fourth season of The Walking Dead. 

What were your thoughts on this episode? Post a comment!