The Walking Dead: Rise of the Governor [Hardcover]

It’s very likely that I had too high expectations, or that Max Brooks just spoiled me. But in the end when I was finished with “Rise of the Governor” I was somewhat underwhelmed. Rather than considering re-reading the book, I merely just closed it and moved on with my life. “Rise of the Governor” proves that even with good writing and a wonderful premise, a prequel isn’t always a good idea. The Governor aka Phillip Blake is surely one of the most notorious and memorable characters from the Walking Dead series, and he’s yet to be topped. And while I think he was a fascinating character with a lot of depth and complexity, I really don’t know if I care who he was before the dead destroyed the world.

Phillip Blake’s story is so unimportant in the grand scheme of things because we know how he will end up, unfortunately. The characters in “Rise of the Governor” lack any impact or real individuality. I had a very hard time discerning which characters were talking most times, and I really wasn’t on the edge of my seat. Granted, there are some truly excellent moments to be mined here. I loved the search for the missing zombie kid in the house, and Blake’s intensity toward protecting his family, but “Rise of the Governor” really has nothing to add to the universe beyond “Here is what happened before he met Rick Grimes and massacred a bunch of people in the prison.” While it is a good idea in theory, I really didn’t feel the need to follow him on his path to evil.

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Valentine (2001)

valentine4Taking every bit and piece it can from “Slaughter High,” 2001’s painfully bland and tedious “Valentine” examines what happens when you fuck a nerd in the ass. At a school dance for Valentine’s Day, young Jeremy Melton experiences endless rejection from his classmates during the dance and braves the social experience anyway. After young Dorothy Wheeler sets him up to become the target of school bullies, Jeremy is never heard from again and becomes fodder for the group of girls later in their lives. I always assumed horror films were supposed to focus on likable characters. If not, there should be at least one or two likable characters you can connect with. “Valentine” works against such an effort focusing on four of the most vapid and utterly despicable young girls ever written, all of whom are stuck up rich snobs just asking to be brutally slaughtered.

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Wes Craven's New Nightmare (1994)

new_nightmare_poster_02“New Nightmare” is the final installment of the series and something of a meta-movie that pre-dates Craven’s wildly overrated “Scream” series. Rather than deconstruct the slasher film, Craven deconstructs the “Nightmare” series once and for all studying the over saturation of Krueger on the masses of pop culture fanatics and dares to ponder on the notion that the “Nightmare” movies may have actually done more harm than good. Basing most of the film on reality (including the stalker sub-plot), “New Nightmare” breaks down and disavows the series opting instead to depict them as fiction that have taken on a life of their own in the midst of the pop culture overload.

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Night of the Living Dead (1968)

notld68posterI spend a lot of time debating and exploring “Night of the Living Dead” to an almost obscene degree. While today it’s been passed around more than a bong at a Grateful Dead concert, has been included in every horror boxed set imaginable, and has been remade, reworked, and rebooted to a sickening degree, somehow George A. Romero’s “Night of the Living Dead” has managed to survive it all. It still stands, feet planted, in the ground and taking whatever the film world throws at it. A lot of horror geeks say Romero gets too much credit for “Night.” I mean, in the end isn’t it just a retread of the novel “I Am Legend” and “The Last Man on Earth”? And surely, it’s not the first genre picture to star an African American man in a dominant role. But still, “Night” is just art in motion. It’s still a rich and deeply effective indictment on humanity, and still possesses themes about the inner monster that ring true even in the digital age.

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Girl vs. Monster (2012)

gvsmWhile many kids of the nineties will agree that DCOM’s simply aren’t as good or as innocent as they used to be, the talent has improved enormously. Most of the actors in the past DCOM’s (Disney Channel Original Movies) were always so blustery and stilted in their performances, in spite of the fact that Disney took more risks with their movies. These days, they’ve traded subtlety for talent. “Kickin’ It” is one of the few successful boy oriented shows Disney has launched. It’s a show about a group of kids who deal with growing up through the skill of martial arts, and one of its stars Olivia Holt has displayed a real charm and charisma that’s tough to keep contained.

In “Girl vs. Monster” she has a real magnetism and appeal that makes her the ideal choice for the role of a young girl about to come in to her own as a monster hunter in a legacy of master monster hunters in her family. “Girl vs. Monster” contains elements of “Supernatural,” and “Ghostbusters,” with a hint of “Hocus Pocus” and manages to be rather entertaining. Skyler Lewis is a bold and brave young girl who isn’t afraid of anything. She leaps on to a rafter to fix a Halloween banner and lands the fall with grace, and before leaving with her friends engages in a performance with a local band for the room. She’s the envy of many people, and we’re forced to believe somewhat of an outcast. Her parents are primarily mold specialists whom are incredibly over protective and refuse to let her attend the Halloween party thrown by musician Ryan, who begs Skyler to sing for the group when lead singer Myra is hurt in a hilarious accident. Refusing to let her go, Skyler’s odd parents leave her in the charge of her uncle, and lock her inside the house.

Determined to make it out, she shuts the power down to the house and accidentally frees the evil Deimata from the ghost chamber in their basement. On a mission to possess Skyler and feed on her fear, Diemata is intent on hunting Skyler down as Skyler comes to grips with the fact that she has to be a hero. Very much in the vein of “Halloweentown,” Skyler is a girl who loves Halloween whose over protective parents are suppressing her until a certain age where she can become a hero of some kind. In that regard it’s rather derivative. I also never understood why the parents would house a ghost chamber in their basement and make their power grid so functional and easily shut down by hand when their house is protected by a key pad. And what would Deimata accomplish by possessing Skyler? Was it a part of a master plan to destroy the legacy of monster hunters? Or was she trying to inflict revenge on Skyler’s parents? As with most DCOM’s, “Girl vs. Monster” is entertaining and very charming, but often very silly and doesn’t entirely make a lot of sense in the end.

But the primary reason to watch “Girl vs. Monster” is because it’s such an interesting concept worthy of a few follow-ups for the character of Skyler, and star Holt has a real enthusiasm and draw that’s tough to ignore. As with all DCOM’s, this new film is about a character coming of age, and ultimately she has to learn how to cope with fear and use it as a means of thriving in life rather than letting it control her. As the film progresses we learn that Skyler may not be too normal, while her two friends often paralyzed by their insecurities may be more in control around demonic beings. The trio of ghouls feast off of the insecurities of teenagers, and are basically just metaphors for anxiety, insecurity, and self-esteem. They’re manifestations of those flaws, and they feed on such horrors.

To defeat them they must ultimately face their fears, which means Skyler’s friend Sadie must confront her fear of public speaking, goofy Henry must battle a bullying scarecrow, and Skyler must perform her music for the party she’s attending. As with all modern DCOM’s, the cast is intended to do more than just act, so Olivia Holt pulls in double duty as a singer and actor and accomplishes some strong singing paired with some very catchy music for the film’s inevitable soundtrack. While it has bumps along the road, “Girl vs. Monster” has a clear message for its teen audience about confronting fears, while marketing on the growing popularity of talented star, Olivia Holt. It’s a very pleasing Halloween treat. With Disney trying to re-invent their Halloween tradition for a new audience and move away from the classic “Halloweentown,” the new “Girl vs. Monster” is a fun and exciting action comedy for the teens, but I doubt it’ll be as well received as the former more festive fantasy film. Olivia Holt has real potential, and I hope Disney banks on her more in the future.

Truth or Die (2012) (DVD)

Director Robert Heath creates a horror film that starts out like “Slaughter High” and ends like “Saw.” Basically, “Truth or Die” is a revenge film of the twisted kind where no one is truly just. In the end, it’s about despicable people hurting despicable people. As is the trend with most modern revenge tales, “Truth or Die” is about the destruction of revenge and how nothing is ever as it seems.

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0, 1, 2, 3, 1, 0 [Diligo Victum] (2010)

Director Dick Jane is really succeeding in distinguishing himself from other indie filmmakers, and slowly he’s turning in to a filmmaker I’m looking for most times. While he’s not always a home run cinematically, he does opt for daring. And it comes through. With “Kiddy Kiddy Bang Bang” that was a film guaranteed to turn heads and even incense some people. His first short film “0, 1, 2, 3, 1, 0” is a short Bergman-esque meditation on a woman struggling with suicide.

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