Warner Bros. Pictures. This film obviously has no relationship with AMC’s modern “The Walking Dead” or its comic book source material.
If you’re acquainted with this blog at all, then you’re already aware of the sheer reverence I have for Ridley Scott’s “Blade Runner” (1982). So I won’t belabor that subject yet again in order to note Rutger Hauer’s passing this past Friday.
Hauer was a prolific actor, and his fans can remember him fondly from any number of roles. Below are the trailers for my three favorites.
The first is 1986’s “The Hitcher,” which might have been the first modern, adult horror film that I truly loved. (This is leaving aside Alfred Hitchcock’s 1963 “The Birds” and various monster movies aimed at kids.) I’m a little concerned that the trailer below misrepresents the movie, though. “The Hitcher” aspired to be a serious film, and was truly a great horror-thriller, in my opinion. It was moody, atmospheric, thoughtful and methodically paced (although it didn’t lack blood and violence either). It was far better than the 80’s action-horror boilerplate movie that the trailer seems to depict.
Hauer was terrifying. (If you are wondering, that is indeed C. Thomas Howell and Jennifer Jason Leigh costarring. And if you watch the trailer very closely, you can see Jeffrey DeMunn — who contemporary audiences will recognize as Dale from “The Walking Dead.”)
The second is movie is 1985’s “Ladyhawke,” which saw Hauer co-star with none other than Matthew Broderick and Michelle Pfeiffer. It had far more mainstream appeal, and it reliably kicks up nostalgia every time it’s mentioned on social media. (Seriously, go try it.)
The third is one that far fewer people will remember –1989’s “Blind Fury,” which rode the tail end of the decade’s martial arts craze. It was zany stuff, and it didn’t hold back on the 80’s-era cheese, but it had a lot of heart and was surprisingly earnest. Some of the action sequences were damned impressive too. (And if you were a nut for 80’s ninja movies, you’ll of course recognize Sho Kosugi as the acrobatic villain here.)
“Fear the Walking Dead” has devolved. It’s fallen a long way from its early years as an earnest, deadly serious prequel to “The Walking Dead.” (I, for one, really liked the first season’s creative mix of slow-burn horror and family drama, and I loved the ambitious, milieu-exploring apocalypse-in-progress stories of subsequent seasons.) Today, we’ve reached the point where the show has become so slapdash and campy that you have to wonder whether its creators take it seriously at all.
I’m sorry to say this, but the Season 5 premiere felt like pretty amateurish stuff. Its writing, directing and acting (in some places) were really, really spotty. Its early action set-piece involving a plane crash, for example, was choppy, confusing and awkwardly staged. The plotting and dialogue were … poor.
Even the premiere’s marketing was goofy. Its television ads seemed like an intentional self-parody — like maybe a Saturday Night Live skit lampooning zombie shows. (See below.) The poster is a mess too — even if the center image’s suggestion that John Dorie is a gunslinging Christ figure is pretty damned nifty.
With all of this said, it may surprise you that I still liked the episode well enough, and I’ll still watch the show. I’d rate the premiere a 7 out of 10, because “Fear the Walking Dead” still has its merits. I can think of three reasons in particular why I still had fun with the premiere, and why I’ll still tune in next Sunday.
First, some of the characters are terrific. I’ll always love Victor Strand (Colman Domingo). I really like Dorie (Garret Dillahunt) and his mild-mannered girlfriend, June (Jenna Elfman), and Charlie (Alexa Nisenson) is the kind of child character that typically grows on me. (Let’s hope Dorie’s posture in the poster isn’t a hint about his death.) I still like Morgan, because Lennie James is always a pleasure to watch, even if I don’t share the immense zeal of his legions of fans. (The writers need to do more with him beyond his weird, vaguely “Kung Fu,” born-again altruism. I know he’s supposed to be the Eastern philosophy guy, but his dialogue sometimes makes him come off like a stereotypical, nattering Evangelical.)
The second reason I’ll stay with this show is that its stories move along quickly. There are no static, Negan-centered endless epics here, like there are on this show’s plodding progenitor.
The third reason is this — “Fear the Walking Dead” has always hatched the most creative story ideas. Whatever problems the show might have developed over time with character, dialogue or plot details, the basic story concepts have always been really damned inventive. (They consistently offer much more than “The Walking Dead’s” two boiler-plate plot arcs — group-vs.-group or refuge-with-a-hidden-danger.) This season looks like it will be no exception. There are two major reveals in this episode’s closing minutes. One connects Season 5 with past seasons of “Fear the Walking Dead,” while another is a tantalizing hint about greater forces in the “Walking Dead” universe.
Oh! One more thing! There is an important new character here played by the terrific Matt Frewer. If you’re a true zombie horror fan, then you’ll recognize him as none other than Frank, from Zack Snyder’s superb, unfairly reviled 2004 “Dawn of the Dead” remake. And if you’re an 80’s kid like I am, then you might remember him as the original Max Headroom — from both the Coca-Cola ads and excellent but short-lived 1987 sci-fi series. That’s some pretty fun casting — and the guy is a really good actor.
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.
I won’t go on at length here about how “The Walking Dead” has so vastly improved. I’ve already bored a couple of friends of mine to tears by practically evangelizing to them about how they should start watching the show again after having given up on it.
But now that Season 9 has concluded, I at least need to mention here that I loved it — enough to rate it a 9 out out of 10. There were some narrative problems, some of which were avoidable and some of which weren’t. (It’s always hard to smoothly script around the departures of major characters. This instance must have been especially tough.) But Season 9 is so radically improved in terms of its pacing, plotting and characterization that it might as well be an entirely different TV show. Not only does it move along at a nice, brisk pace, it also paints a fairly broad post-apocalyptic epic on a broad canvas. And it’s scary again, too — owing largely to the arrival of “The Whisperers,” who are among the best villains the show has ever offered. (Only the residents of Terminus come close to being creepier.)
If you’ve given up on the show, I understand that. The overall story has stagnated for years, most notably when it was mired in the static, over-long and depressing story arc in which our heroes were subjugated by Negan. But I recommend you sit down with Season 9 and at least give it a chance. You’ll be happy you did.
Didn’t see that one coming. (Waitaminute. Why are actors “on” shows, but “in” movies?) The name of the actress is Samantha Morton.
She’s bald in both roles, and both roles depict her in dystopias.
And her characters are repeatedly referred to by others as “the strongest” member of their group.
AND both the show and the film place her in a key plot arc in which girls are taken from their mothers. Damn.
“The Purge” franchise continues to defy expectations after its move to television. It still isn’t high art, and it probably can never fully transcend the high-camp trappings of its premise. (I suppose it’s hard to script a truly grounded horror property about people in Halloween costumes murdering one another with impunity on a designated “holiday.”) But, like the movies preceding it, the USA Network’s new dystopian horror show is still a bit smarter and more interesting you’d expect from its bizarre central plot conceit.
The 10-episode first season, which aired with seemingly little fanfare last fall, generally succeeds — I’d rate it an 8 out of 10, and I’ve spoken with a couple of other horror fan who were as happy with it as I was. The people who recommended it to me are also big fans of AMC’s “The Walking Dead” (which has radically improved this season), and that makes sense. Although “The Purge” has an entirely different feel than “The Walking Dead,” it also has a lot of common elements — both shows are milieu-type horror stories with a large, diverse group of characters negotiating a sprawling setting with innumerable deadly antagonists.
A surprising amount of thought went into this show. There’s a nice degree of world-building and detail, with various characters embracing, rejecting or remaining ambivalent about the titular “Purge.” The screenwriter here tries hard to round out the twisted America in which The Purge annually takes place, with a lot of creative and blackly cynical story elements. (I’m not clear if the writer here is James DeMonaco, who wrote and directed the first three of the four “Purge” movies.) We see, for example, a cult whose brainwashed members offer themselves up as willing murder victims, as well as anti-Purge revolutionaries who exploit the night to target the fascist oligarchical government which created the brutal holiday. There are a lot of surprises in terms of plot, character and setting that I will not spoil here.
The gore and violence were surprisingly high for network television. (Again, this show may be taking its cues from “The Walking Dead,” which always pushes the boundaries.)
Some of the acting is quite good — William Baldwin is absolutely superb, Lee Tergesen is always fun to watch, and the beautiful Hannah Emily Anderson is another talented standout. I swore I recognized Fiona Dourif’s distinctive looks and mannerisms. (She portrays the cunning cult leader who entices young people to sacrifice themselves, and I’ll be damned if she doesn’t totally look and sound the part.) But, upon Googling her, I realized I’d never seen her before — she just reminds me of her father, who also plays a lot of bad guys — the amazing Brad Dourif.
Some of my enthusiasm for “The Purge” waned just a little as the season wound down toward its conclusion. After Season 1’s unsettling ideas were left fully explored, the show did start to feel more like conventional television — right down to a standard good-guys-vs.-bad-guys shoot-em-up at its climax. (If the show had fully sustained its tension until the end, I would have rated it a 9 out of 10.) And the final minutes of Season 1 consist of a coda among three characters that is forced and preposterous … I’m surprised it made it past the editing stage. But this still wasn’t enough to spoil the fun.
I should also note here that not everyone enjoyed “The Purge” as I and my friends did. Critical and popular reaction to it is definitely mixed. (As of this writing, the show has only a 42% rating from critics on Rotten Tomatoes, with just 63% of audiences liking it.)
Postscript — I could almost swear that the auditorium we see towards the end is the very same shooting location used for Thomas Smith’s school in “The Man in the High Castle.” You can tell by the establishing shots. It’s even lit the same way.