The Weinstein Company, Dimension Films.
The Weinstein Company, Dimension Films.
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.
It shouldn’t take a screenwriting genius to realize that the fans want this, right?
Or am I the only 80’s kid who grew up loving both ninja movies and George A. Romero’s films?
Anyway … I am loathe to criticize the show these days. It has gotten SO much better — SO much better. Season 9 is like a different show altogether.
So I raised a few eyebrows a while back when I praised the 2004 colorized version of the late George A. Romero’s “Night of the Living Dead” (1968). A couple of horror fans gave me flack for it — I hope people realize that I was talking about the last (and best) colorization, adapted by Legend Films. (There were several prior color versions, and the 1986 attempt by Hal Roach Studios was broadly and justifiably condemned.)
I also hope that people realize that my preferred version will always be Romero’s black-and-white original. And it just so happens that I found an unusually good copy of it online, over at the Timeless Classic Movie Youtube channel. (There are actually some really clean copies of a few great classics there, including 1964’s “The Last Man on Earth”).
There are actually several colorized versions of George A. Romero’s 1968 classic floating around out there — the one I watched was the quite decent 2004 revision by Legend Films. (I believe it’s the truly crude 1986 Hal Roach colorized version that is so widely reviled by fans — and with good reason. Those green-skinned zombies looked awful in that one clip I watched.)
I had a blast with the Legend Films outing. I cheerfully recommend it. The colorization isn’t perfect, and it’s a little strange seeing the start of the zombie apocalypse rendered in occasionally pastel hues. But this was a fun way to revisit a beloved film I’ve seen so often before, but only in black and white. You can also finally fully appreciate how beautiful Judith O’Dea was. (And, in my opinion, she and Duane Jones were damned terrific in this movie.)
Check out the clip below.
I finally got around to watching my first episode of “American Horror Story” last night; I started with this season’s critically praised premiere. (People have been enthusiastically recommending this show to me for years, and “Game of Thrones” taught me that the bandwagon isn’t always a bad thing.)
I can’t say that I was overly impressed. Season 7’s opening episode, entitled “Election Night,” consists mostly of heavy-handed political commentary with caricaturized portrayals of both Donald Trump and Hillary Clinton supporters. Nearly none of the characters are likable; not even the one played by the terrific Evan Peters. (Yes, comics fans, that’s none other than Quicksilver from the latest “X-Men” movies.)
There is a lot of “scary clown” horror here, as anyone who’s seen any marketing for the show at all should know. Between that and the political elements, I suspect I am not the right audience for this show. I simply find clowns obnoxious instead of scary, and political commentary in horror usually falls flat with me. (I’m the rare horror fan who loves George A. Romero’s work only because it’s scary, without caring much about the social statements he’s supposedly making.)
With all of that said, there actually were a couple of creepy moments late in the game. And there was one (as of yet, minor) character that I liked — the child of the liberal couple who were so devastated by the election results. He’s cute, and any kid who hides parentally forbidden horror comics under his pillow is one of my tribe.
I’d somewhat grudgingly rate this a 5 out of 10.
Anyway … scary clowns are ubiquitous now, and we already have the zombie shows we need. I propose that we bring back … body snatchers. Those can be terrifying in the hands of a talented writer, and they require no special effects. Or, what about vampires? Now that “The Strain” has concluded, how about a well written television excursion into Steve Niles’ “30 Days of Night” universe? Or maybe a “Stakeland” TV show? Looking at you, AMC.