Binge This! Weekly Pick: The Umbrella Academy (Steve Blackman, Jeremy Slater)


 

I figured that starting a new trend of posting about the shows I quickly go through on streaming services would be a good way of keeping myself busy in-between Horrorfests and other musings. This week’s pick is The Umbrella Academy, which I finally burned through in less than a week after letting it sit on my queue long after it was released. While my usual enjoyment of superhero fair caused this show to catch my attention, the very likable and easy to relate to characters gave me a reason to keep watching. The plot is rather Watchmen/The-X-Men meets The Royal Tenenbaums: a group of kids are all born on the same day, and were adopted by an eccentric rich man who enrolls them in his own private school. This man, Sir Reginald Hargreeves, is played by Colm Feore, and is reveled through flashbacks to be, in the words of his adapted son Diego, “A monster.”

Naturally as the show goes on things are way more complicated, of course, particularly since the fate of the world is at stake. The adapted kids have grown up: Luther is on the moon, Allison is an actress, Diego is a vigilante, Vanya is a concert violinist, Klaus has a terrible drug addiction and Ben (Justin H. Min), is well…watch and see. Back into their lives comes Number Five (Aidan Gallagher-no really, that’s his name) who disappeared years ago by traveling into the future by mistake. What I also liked about this show is how the flashbacks are handled-you get a decent amount of information, but only enough to keep you curious. Also the show has a good way of using musical cues, and there is a good deal of sly humor as well. Ellen Page is the main star, yet I rather liked the entire cast as a whole-particularly Tom Hopper as Luther and Emmy Raver-Lampman as Allison. If I have one big complaint it is that the show focus a lot on them and Number Five, especially since Klaus (Robert Sheehan) is just as interesting, and the rest of the group feels a bit left behind at times. Particularly Diego (David Castañeda), who has a more serious, affectionate connection to their adopted mother than the others. Although Number Five’s issues and problems are rather connected to and even the cause of what happens later on, so…

Thankfully there is going to be a Season 2, although I cannot say more about how the season ends. I do want to know several things (spoilers), and the the final scene leaves many questions to be answered. I have not read the comic this show is based off of, however I might at some point. If you enjoy something oddball and at times really dark, this show is for you. If you prefer something that doesn’t feature a robot and a talking monkey helping a stern old man look after some kids who grew up with powers, then look for something else. Having watched enough shows over the years that is not even the weirdest plot elements I have encountered, but they certainly are favorable to my interests.

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Horrorfest 2015 Presents: IT (1990, Tommy Lee Wallace)


All too many Stephen King adoptions don’t work out. Yet still there are ones that manage to at least properly tackle his material, IT being one of those adaptations that works rather well. Such a novel is immense and rather hard to tackle, especially considering the novel’s use of flashbacks, many which intercede with the present setting of the novel in the 1980s. And just like the novel the 1950s flashbacks work the best.

Oh and Tim Curry is wonderfully creepy as Pennywise, the villain of the piece. He has hilarious one liners and manages to even terrify in some parts. Particularly when poor grownup Bill recalls what happened to his brother Georgie. So much teeth…how they bite. Some of the adult versions of the young cast don’t quite fit with the novel’s descriptions of them, however. Especially John Ritter and Richard  Thomas, although both give quality performances. Also while I like Harry Anderson as Ritchie it oddly feels a bit too obvious of a casting pick. That said the rest of the cast is spot on, particularly with all of the young kids (Seth Green and Emily Perkins being notable standouts); also Annette O’ Toole is perfect as Beverly and Tim Reid is a great Mike.

Also they get Eddie right despite changing a few details. The second half isn’t as strong as the first, mostly since the kid actors play their parts with the utmost sincerity. Still I also enjoy the second half and naturally due to budget and length issues certain other aspects of the novel had to be cut. I wonder how the planned new version will work out, and I am hoping that it’s an improvement. Still I rather like and enjoy this slice of 1990s TV miniseries, a reminder of the days when such programs existed.

Ten Years Dead: Night of the Living Dead Essay (Warning: Spoilers)


From 2005, no less. Whoa that’s 10 years since I wrote about George A. Romero’s masterpiece Night of the Living Dead (1968). Unfortunately I was unable to discuss the film in full detail without using spoilers and mentioning key plot points, although at this point if you haven’t seen George A. Romero’s classic film then you should go fix that ASAP.

Despite the snubbing the horror movie genre receives from many critics, there are actually a good many horror films that have received substantial praise from both critics and fans. One such film is original Night of the Living Dead, made in 1968 by the famous and renowned director George A. Romero. I’ve heard it referred to as the Citizen Kane of horror movies, and while I haven’t seen enough to agree with that statement, Night is indeed a landmark in the history of horror movies, and in cinema.

Before I begin my attempt to discuss the film’s plot, stars, and the finer points of human flesh, I feel the need to say how I discovered this film in the first place. It was back in the fall of 2001, when I was a sophomore at my local high school. Being that it was Halloween, we decided to rent a couple of horror movies, thus continuing a tradition of sorts that we’ve done every year since the 8th Grade.

After walking through the door and being greeted by one of the store clerks wearing some freaky mask, we wandered into the video store aisle marked “Horror.” While my friend picked Scream 3, which was a fairly new release, I noticed a VHS cover, which I think had a zombie on it (my memory is kind of fuzzy). I read the back of the movie, which said it was about some people getting attacked by zombies, and I thought it would be gory fun. Get this: there were two copies of Night of the Living Dead, both the original and the remake. I thought I was getting the remake. But no, when my friend and I popped the tape in back at his house, I discovered to my surprise that it was an old black and white film instead.

Being young and wanting quick scares, my friend didn’t like the film and I found it to be alright at best, with the ending quite shocking and the famous “girl zombie” scene to be gruesome. Turning to the fun of Scream 3, which I found scary at the time (I only saw the rest of the trilogy two Halloweens ago), we both forgot about the other film. That was roughly four years and four viewings ago. Multiple viewings quickly changed my thoughts and views on the flick, but one could say that about a number of movies. I could go on all about me, but I’d rather focus on the film itself.

As the movie opens, we see Johnny boy and his sister Barbara on their way to place flowers on some dead person’s grave. Who that person is isn’t relevant to the story, but instead it serves as an ample plot device, since Johnny is reminded of how he used to scare Barbra, going on to say “They coming to get you Barbara,” with a stupid look on his face. He should have kept his mouth shut, because one of them comes alright. He’s defiantly not human, looks like Lurch’s long lost cousin, and he proceeds to bash Johnny’s head into a tomb stone. Lurch attempts to grab Barbara, but she ditches her car (“Johnny has the keys” is what she says later on), and runs like hell, finally reaching an abandoned farmhouse. This scene marks the change in the movie from quiet and relaxed to a freaky, heavy sense of dread, and I find the zombie attack to be somewhat surreal and almost out of place, which is why it works. Rising from the grave, clearly awakened by gongs being banged by crazed Buddhist monks, dozens of zombies slowly converge upon the farmhouse. All hope seems lost for poor Barbara, who by this point has become a buddle of fried nerves, scared out of her bloody mind, and clearly in no shape to battle the undead hordes.

That’s when the protagonist of our film comes in out of nowhere, riding in an old broke down car and wielding what looks like a tire iron. His name is Ben, and he is her knight in shinning armor, or, in actual reality, an African-American male completely surrounded by whitey. Seriously, Ben is the only black man we see in the entire flick-even the zombies are white! While Romero claims that his decision to cast Duane Jones in the role wasn’t motivated by race, the film’s events (which I will get to later) make me wonder. Completely unfazed by the fact that he’s surrounded by flesh eaters, he walks out on the front porch and sets some of the creatures on fire, and also quickly boards up the house. The guy even finds a lever action shotgun, and starts loading the weapon; Ben is a man of action, and here we witness what has become a common cliché in many movies: the quick thinking man of action, who stays calm, knows what to do, and isn’t afraid to act.

The movie wouldn’t be complete without some drama within the house itself, and this is supplied by Harry, a racist, his wife and child, and the young couple Tom and Judy. Harry doesn’t trust Ben’s decisions and wants to be in charge, providing the film with an added and interesting dimension: Harry feels that he is the bigger man, that he’s right, that he has to be the alpha male of the group. It’s not just a matter of race, but also a matter of serious pride; this pride ends up leading to the destruction of the group, and a bitter irony: that Harry was right about the basement of the house being the safest place to hide. Well at least in the end for the most part; although at the same time staying up in the main house, where there are multiple escape routes makes sense too.

At its core, Night of the Living Dead is many things. It’s clear that the movie is a horror version of those old westerns where the cowboys are holed up in a small cabin or fort, with the savage Indians attacking it, trying to break in and scalp everyone inside. Of course the Indians never ate the cowboys (last time I checked), but that seems to be the main reason why most of the movie takes place inside an abandoned house in the middle of nowhere. The claustrophobic feeling of the house has a clear effect upon the inhabitants, and this only ups the film’s slowly building sense of tension. I also feel that the movie in a way mirrors the social and political upheavals that were taking place at that time in America. Ben and Harry’s struggles for control certainly reflect upon the racial conflicts that had exploded in many American cities, along with the film’s ending, which caught me completely off guard. Also, the movie’s few extremely violent scenes are perhaps references to the Vietnam War; in that American troops mowed down countless, nameless Vietnamese communists-only replace the communists with flesh eating zombies. I also have to note that many of the zombies had the look of dirty, druggy hippies, which makes me wonder if Romero was commenting on the country’s counterculture as well.

A final theme I think the movie touches on is the horrifying thought that mankind at its worst reverts to its most primitive, primal and gruesome instincts, and I think the zombies reflect this. That at any time, any place, and your loved one may go berserk and decide to either gnaw on your flesh, or stab you to death with a garden trowel. They are no longer human, and reasoning with them won’t save you. Which is to me a very scary thought indeed.

“Night,” like most horror movies isn’t well known for its actors, or good acting in general. That seems to be an extra bonus, especially if you take a look at the slasher films of the 1980s. But even on a shoe string budget Romero manages to get some pretty good acting out of some of the movie’s cast, especially Duane Jones. Jones as Ben is really the film’s strongest character, and while it’s not an entirely fleshed out role, Jones does a wonderful job portraying a man surrounded by what one could call a surrealistic nightmare. What makes Ben so damn cool is that he takes no prisoners, refuses to surrender, uses everything at his disposal to kill the zombies, and until the second half of the film, he has a plan. What also makes his character so fascinating is how Ben slowly comes to realize that even he is human, and that despite all his planning everything goes terribly wrong. This feeling is further explored in a scene where Ben is trapped in the basement, haunted by the fact that he is now all alone, and that the bastard hippie people eaters have finally broken into the house. Ben has been defeated, and he knows it.

As for the other actors, Karl Hardman as Harry, we see a man who is the complete opposite of Ben. Harry seems to be nervous, racist, (one could say that Ben was racists at times also), and paranoid. His struggles with Ben and the distrust that exists between them do indeed add the needed dynamic to the film, and his demise is equal parts gory, tragic, and horrifying, and showcase’s the film’s third theme about lack of true humanity. Judith O’Dea, who as Barbara is stuck in the role of the woman in need of rescue, is the film’s truly realistic side, in that she’s scared out of her mind. While most of us think that we’d act like Ben in such a situation, more than likely many of us would be frightened, and wondering whether or not we would survive. Oh, and what happens to poor Barb is something I wouldn’t wish upon my worst enemy, and is horribly ironic.

The film in itself has plenty of irony, some people who get their just deserts, and others who were unlucky enough to be caught of the middle of two angry men and the horde of the undead. Romero by the way smartly only has a few scenes of gore, and so their shock value and the effect of disgust they aim to project are seared onto the audience’s mind; this is in sharp contrast to the rest of his zombie series. Although the part where the zombie girl stabs her mother to death with a garden tool is a clear homage (or rip off if that’s your opinion) of the famous shower scene in “Psycho,” with the blood splattering, the screams of the dying, and the sharp musical notes in the background. That scene gets me every time, simply because the image of a woman’s spawn butchering her is to me quite cringe worthy, and somewhat shocking.

Stamped with Romero’s unique vision, driven by tension, gore, a cast of realistic characters, and a thoughtful commentary on humanity that may or may not have been intentional, Night of the Living Dead is a movie experience every horror fan should have. The movie proves that not all horror films are mindless, gory thrill machines, and that the genre has contributed more to the world of cinema than is generally acknowledge.

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