Another season of “The Walking Dead” has come and gone. Massive headlines, massive ratings, and the phenomenon keeps chugging along. With season four split in to three very brutal and effective story arcs, we break down the fourth year of the series, and explore ten of our most shocking moments of “The Walking Dead,” season four.
Is there such a thing as civility in the land of the dead? Will there ever be such a thing as civility and kindness and consideration? Do you really have to become a savage and evade all sense of morality to survive? Was Shane right? Was Shane prophetic? Would Shane have become Rick’s mentor in the apocalypse, eventually? One thing I loved about “A” beyond answering all questions, while still keeping us in the dark is that Rick finally comes to fruition as his comic book counterpart. One thing about Rick that’s always rung true in the comics is that Rick knows he’s a warrior, he knows he can survive if he thinks on his feet. What we see at the final scene of “A,” is that Rick finally knows the type of man he is. He knows he’s a warrior and he shalt not be fucked with. Most of all, don’t ever lay a hand on Carl.
What’s worse than a bad zombie movie? A bad zombie where the zombies are painfully easy to kill. How can you be terrified of zombies that can be killed by drum sticks and golf clubs? It’s also a lot of fun when the director can’t seem to decide if his zombies are shamblers or runners. Sometimes they run, sometimes they shamble around in a sleepy haze. Sometimes they bite relentlessly, but when lunging at our characters, they’re easier to fight than a toddler with a full diaper. Which is a shame, because nine times out of ten, the zombies look creepy as all hell, while director Logan McMillan manages to paint a pretty atmospheric apocalypse. For the first fifteen minutes, at least.
I’m just going to throw it out there without fearing a spoiler troll. So we find out in “Empire of the Dead” that doctor Penny Jones is indeed the little sister of Barbara and Johnny from “Night of the Living Dead.” So that would mean that they were named Barbara and Johnny Jones. And that the scenario that took place in 1968, really was present times. The world we gander upon in “Empire” is set in New York five years after the zombie apocalypse ensued, so, it’s 1973? Or is “Night” set in modern times? Which one is it? And what happened to Barbara after she survived Johnny dragging her away from the zombie horde? Do “Dawn of the Dead” and “Day of the Dead” just not count anymore? Does “Empire of the Dead” officially wipe them out of existence?
Hopefully someday we’ll be able to see the director’s cut of “Knights of Badassdom” as originally envisioned by Joe Lynch. Truth be told, he’s a very talented director, and I’d be more than willing to watch this again. Anything with Summer Glau gets a free pass by me. In its current state as the Producer’s Cut, “Knights of Badassdom” is still a great horror comedy that takes a bunch of LARPERs and drops them smack dab in the middle of a horrific situation involving a flesh eating demon with the face of a goddess.
The Scooby gang have come across almost every popular star since they were introduced on television. From the Harlem Globetrotters to Batman and Robin, no one was off limits to them. Surely enough with WWE ruling the sports world currently, their crossover with the Scooby gang was not only inevitable but it makes perfect sense, when you consider it. They met The Harlem Globetrotters. Mike Piazza. KISS. This was a long time coming.
You have to give credit to Mel Brooks for being so ballsy. In today’s day and age, a movie like “Blazing Saddles” would never get off the ground and become a mainstream comedy. Even with its material, Brooks runs the risk of becoming low brow, but thankfully manages to create the best comedy of all time. It’s my favorite from Brooks, edging out “Young Frankenstein” if only for the lead performance by Cleavon Little. “Blazing Saddles” satirizes the Western sub-genre, while also mocking its inherent racism, setting it in the middle of the slave era. Though the film is biting in its social commentary, it still manages to be incredibly funny, sidestepping the mockery of the slavery, and instead poking fun at the Caucasian characters.