I tried that last night, but I got scared so I had to stop

I tried that last night, but I got scared so I had to stop


Eh? Seriously?

You doubt my powerful imagination?

I wasn't pertaining to your imagination.

Please save your spoilers for a spoiler thread or something. He isn't the only one that reads this, or is the biggest zombie nut on the boards here. TY

I am very much aware that he is not the only who reads the threads, and I believe that though I stated that I was going to post spoilers, it was not so much that I wrote too many details. I was actually quite vague with it, because I kept in mind that someone may read it, despite the fact that I already warned about the spoiler thing.

I assumed if someone wrote that a post contains spoilers, someone who does not want to know anything about a show in advance would not read any further.

When the first episode was discussed here, I have never seen it yet. In fact, a lot of movies or shows mentioned here and discussed is something that I or a lot of people have not seen, so they may also be considered spoilers. But I did not complain because reading them was a matter of choice.

In any case, your words have been noted and will be taken into consideration. Thanks!

I'm not complaining either. Just saying. Thanks

(IMDb)Rewatched and recommended:

Dellamorte Dellamore



The great thing about this movie is that it's not scared to walk a dangerous line between two rarely compatible genres - tongue in cheek horror comedy and European art flick. On its simplest level, it's a schlock zombie flick - pandering to the gore fans. But on another level, it has enough thought-provoking material and poetic direction to please the turtle-neck brigade at your local arts and drama society.

Director Michael Soavi risked alienating both camps with this approach. After all - do fans of George A. Romero *really* want to see zombies that don't seem all that dangerous? Or hear philosophical dialogue about the blurry line between what is alive and what is dead? And conversely - do the coffee-house beatniks really want their poetic escapism dampened by bullets through nuns eyeballs and flying, biting severed heads in bridal veils??? If you had asked me a year ago I would have said that the mix sounded ridiculous.

Now though - I stand corrected.

On the side appealing to my sense of aesthetics and intellect - Michael Soavi's direction was wonderful. The screen is alive with wide angles, slo-mo flowing silks and drips of water. Reminiscent of Ridley Scott in his better days in fact. But wait? What's this cutting through the artsy fartsy pretension? A Sam Raimi style track and pan here? A Jean Paul Jeunet style superimposition there? The whole film is an exercise in visual flair. I can only wish that Hollywood had more directors of this calibre. On top of this - the screenplay was superbly written. It delivered shock, comedy or deep sentiment with perfect timing. The climax was stunning and left me very quiet throughout the closing credits.

On the side appealing to my sense of "Hey buds, let's crack open a few beers and watch some people get naked and eaten by zombies!" I was equally satisfied. The gore and heaving breast content is most adequate. The zombies were brilliantly designed and had distinct personalities. Even in its deeper moments the film always seems to have it's tongue firmly in its cheek and a mischievous gleam in its eye.

At various times I was reminded of Evil Dead 2, The Hudsucker Proxy, Bad Taste, City of the lost children, and Zombie flesheaters to name but a few. An unusual mix indeed - but one that somehow works. All said and done, I heartily recommend this movie to anyone willing to try out - just for once - a zombie flick with a brain (pun intended).

I love that movie, Red, it's a great movie and not just as a zombie movie, but visually. I love the whole surreal vibe to it, and especially love that ending.

Yep, me too! It's always in my top ten list.

(IMDb)Carriers



A darker companion to "Zombieland", this solid indie film imagines a world in which one of the pandemics dominating current headlines--avian flu, swine flu, etc. has caused widespread destruction and death.

"Carriers" features a group of four young people who have survived the virus outbreak so far, and are heading to a beach to live in an abandoned hotel. Brian (Chris Pine of "Star Trek") has been the most affected by the epidemic, having worked to bury the dozens of victims in a stadium. He has also created a set of rules (as in "Zombieland") to protect the group from catching the disease, which is always fatal. "The sick are already dead". He is accompanied by his girlfriend Bobby (Piper Perabo) and brother Danny (Lou Taylor Pucci). Danny has also brought along a friend Kate (Emily VanCamp), whose relationship to the group is never really explained.

As the group navigates their post-apocalyptic landscape, their morals, friendships, and "rules" are tested, especially when they encounter a man (Christopher Meloni, "Law and Order: SVU") who is desperate to find a cure for his diseased daughter.

This is not a typical teen slasher flick. There is little gore, suspense, or bloody thrills. It is a wrenching drama about the decisions we are faced with in desperate situations, and will likely provide much thought and discussion on what the viewer would do in a similar scenario. The characters are allowed to develop much more than the typical "Halloween" or "Final Destination" hottie, and as they navigate their increasingly dangerous journey, you will feel sympathetic, enraged, and genuinely moved by their horrifically difficult situations.

If you are looking for a fast-paced zombie thriller with lots of sex and guts, "Carriers" is not for you.

Shock Waves (1977)



A vacationing boatload of tourists (insert your cliche here), captained by the hilariously cranky John Carradine, become stranded on a remote island, inhabited only by an aging SS Commander (Peter Cushing, whose extended cameo still makes mincemeat out of the rest of the cast) and his platoon of supernatural, underwater zombies.

"Shock Waves" is something of a cult classic, but isn't without its flaws--there are occasional lulls in the action, resulting in a slow go at times. The lack of gore might be frustrating to viewers more familiar with the Fulci/Romero school of zombie films, but it does give the atmospheric settings a chance to shine. The acting is mostly weak, save for veterans Carradine and Cushing, but I must applaud the filmmakers' decision to resist the obvious--the film isn't just a series of helpless characters screaming pointlessly whenever they see a spider.

"Shock Waves" is somewhat prolific, seeing as how it DID predate both Romero's "Dawn of the Dead" and Fulci's "Zombie", and the original approach to the classic zombie picture hasn't been matched since (unless you count "Re-Animator"). If you're looking for something a little different, give it a try.

Love Shock Waves! It was my first experience with a Nazi zombie flick.

Yep. I thought, at first, that it was the only movie with a Nazi zombie flair.

See my Nazi zombie list on the first page

I meant, during the time I saw this movie.

I figured that. But I have to plug

Oh. I meant, your list on the first page was AMAZING! WOW!

You know it

Doghouse (IMDb)

As recommended by Torgo, I watched Doghouse and got hooked! The movie starts as Vince is crestfallen, his relationship with his lady is over. Enter his blokey-bloke mates who decided to take him out to a country village for a "fun lads weekend". Trouble is, that the village of Moodley has seen the female population turned into an army of man-eating "zombirds" out for male flesh.

No doubt about it, Doghouse will not so much divide in two the horror/comedy faithful, it will dissect them into little pieces and continue to do so for quite some time. Already it has been chastised for being misogynistic, a poor imitation of British genre benchmark Shaun Of The Dead, and more baffling to me, a waste of British talent. All of which are wrong.

Doghouse is one of the most in tune self mocking British comedies concerning lad culture of recent times, arguably ever. Fifteen minutes into the film our group of "lads", after having been introduced to us through a series of attitudes involving their partners {there's a gay guy too folks}, stand together and a phone rings. The ring tone is that bastion of British machismo, the "Match Of The Day" theme, our group collectively dig into their pockets for their mobiles thinking it may be their phone ringing. From here on in, the marker for what type of film Doghouse is, has been set.

From here we lurch into a battle of the sexes with wry observations as our "heroes" do battle with zombiefied female stereotypes. Hairdresser, dentist, schoolgirl, goth girl, a bride, horsey type and even a goddamn lollipop lady. All scripted with astute knowing and self-critique from Dan Schaffer as the "lads" veer from scared cat wimps to once again being sexually brave Ramboesque types. Honestly, some of the dialogue here is as sharp as the sexy zombie hairdresser girl's scissors are. Oh yeah, forgot to say that the blood flows for those of the gore persuasion, very much so. Some scenes are horror delights, they may come with a quip or a tongue in cheek reference, but there is some fine blood letting stuff here.

In the cast you have Stephen Graham, Noel Clarke and Danny Dyer. I wonder how many folks have noticed the irony that all three guys are not long out of being in "blokey" hooligan type films. Dyer does his usual Cockney wide boy act that will annoy those who don't buy into it, but really there is a reason he plays to type, it's because like it or not, he's effing good at it gov'nor. Graham and Clarke are both British treasures, not based on this film you understand, but they have much ability and it's great to see them having such a great time. While the support from the likes of Lee Ingleby as a horror comic/Evil Dead fan is truly "nudge, nudge-wink, wink" enjoyable. Director Jake West has moved considerably a few notches forward with this picture, so add his name to the list of British genre directors to watch alongside Paul Andrew Williams and Christopher Smith.

Comparisons with Shaun Of The Dead are folly, that film is an awesome parody of the genre, a film that remains a sub-genre highlight. This is a different film though, one that parodies the genre with a totally focused observational narrative on a culture that warrants humorous inspection. So be it, I will happily watch this movie over and over for a long time to come.