Photo by Ian Mcallister, 2008. England.
Comic Book Legal Defense Fund. Image Comics.
Pan and ink, pantone.
Origafoundation [CC BY-SA 3.0 (https://creativecommons.org/licenses/by-sa/3.0)%5D
I don’t understand how “Black Summer” can be as good as it is. It’s produced by The Asylum, the makers of low budget, direct-to-video ripoff films like “Atlantic Rim” (2013) and “Triassic World” (2018). It’s a prequel to the horror-comedy “Z Nation” (2014-2018) — a show that was so bad I couldn’t make it through its first episode. Yet “Black Summer” is inexplicably a great, albeit imperfect, TV show. I’d rate it a 9 out 10.
I might be in the minority here; a lot of people are severely panning this show online. And I do recognize its weaknesses — there is very little detail in its plot or character development … there is often even very little dialogue at all. And even I recognized some plot holes. (I’m typically a little slow on the uptake where these are concerned.)
But this bare-bones zombie story still manages to screen some likable characters, and then put them through a thrilling succession of hyper-kinetic chases and melees. I was on the edge of my seat, and I consequently didn’t miss the methodical, detailed plotting of shows like “The Walking Dead.” The season’s finale is crowned by an extended, eye-level, real-time action set-piece that ought to be considered a classic in the zombie-horror subgenre. It was mind-blowing. I just can’t dislike a horror property that genuinely scared me.
I could simply be out of step with everyone else; I often have different tastes in zombie fare. I love Zack Snyder’s 2008 remake of “Dawn of the Dead,” which this series reminds me of. And I also love similar overseas productions like Spain’s “[REC]” films (2007 – 2014) and Britain’s “Dead Set” miniseries (2008), while those amazing entries are hardly known among my friends. I also cannot understand why many people who love George A. Romero’s and Robert Kirkman’s productions must always compare other films and TV shows unfavorably to them. We can love both. Why not?
Hey, if you don’t want to make my word for it, here is what Stephen King tweeted: “No long, fraught discussions. No endless flashbacks, because there’s no back story. No grouchy teens. Dialogue is spare. Much shot with a single handheld camera, very fluid.”
I obviously recommend this.
Warner Bros. Pictures.
Have fun! Be safe! Enjoy!
Make sure you have a designated driver! Or, better yet … why not be the designated driver? What better way to spend the first hours of 2019 than as a hero to the people around you (maybe not the hero that Gotham deserves, but the hero it needs right now)?
I’m not sure how I’ve gotten to become such a mother hen in my old age … Maybe it’s because, in my younger days, I was the one who needed mother henning.
Whatever, just don’t wind up like Gatsby, floating face down in the pool at the end of the night. (But go ahead and totally be him up until that point.)
Postscript — the quote below, which I rather like, doesn’t appear in F. Scott Fitzgerald’s “The Great Gatsby” or its 2013 film treatment with Leonardo DiCaprio. I’m told that the line actually originates from “Sex and the City” (1998 – 2004).
Netflix’ “Bird Box” generally pleases — I’d rate it an 8 out of 10, and I’d recommend it to anyone looking for a creative and effective apocalyptic horror film. A few reviewers call it a “high-concept” horror movie because of its MacGuffin — an invasion of otherworldly beings causes anyone who looks at them to hallucinate and become suicidally depressed. (A handful of survivors escape the chaotic mass suicides because they are lucky enough not to lay eyes on the mysterious, mind-bending creatures which can become images of their victims’ worst fears.)
It’s a hell of a setup — it reminds many people of this year’s “A Quiet Place” and 2008’s unfairly maligned “The Happening.” (Hey, I really liked that movie.) For some reason, “Bird Box” reminded me of the 1985 “The Twilight Zone” episode, “Need to Know.” (It’s a great ep.) And the plot device pays off — “Bird Box” is genuinely unsettling, and the whole story comes across as a blackly inventive end-of-the-world tale.
Sandra Bullock is good here; supporting actors Sarah Paulson and John Malkovich are even better. (Malkovich is mesmerizing whenever he plays an intense or unpleasant character.)
The film suffers somewhat from puzzling pacing problems — sometimes the story appears to be unfolding too quickly, but by the end of the two-hour movie, it feels too long. “Bird Box” was adapted from a structured 2014 novel by Josh Malerman; I strongly get the sense that it tries to squeeze too much of its source material into a the running time for a movie. I honestly think I would have enjoyed it much more if its frightening plot device and interesting, well-played characters were explored in a mini-series.
There’s another disappointment too — we learn very little about the story’s antagonists, beyond one character’s hypothesis that they’re archetypal punishing figures from a number of the world’s religions. I wanted to know more.
Devil’s Due Publishing.