The Walking Dead – if you didn’t know, it’s back!

Unless you’ve been under a rock, you’ll be totally aware that AMC’s The Walking Dead is back – and it might just be better than ever. I talk a lot about the exploration of humanity seen in recent seasons of the Robert Kirkman-created zombie drama, but in No Way Out and The Next World, writers have delved into the bravery of the Alexandria community, and the new-found courage of many of its inhabitants. The series has also, at this stage in its popularity and success, reinvented the zombie genre and turned it into something fresh and new. It’s changed in its thematic qualities and the way in which those are explored, it fuses evocative scores and stylised fighting scenes with thoughtful dialogue and tender moments of conversation. Zombies are now fair game in a drama and don’t just sit in the horror genre, meaning this is T.V. that is accessible for most.

Through the medium of television, the creators behind this fantastic show have had the time to evolve the narrative and this is where the genre suffers in film but thrives on T.V. There isn’t a need for constant action because we know and care about the characters and want to see their individual stories develop. Now, after a lengthy six seasons and 77 episodes, audiences are seeing an actual journey – not necessarily one of physicality, but one of mentality. Frequent director Greg Nicotero is studying his characters with succinct detail, demanding emotion and realism – both of which have been seen (perhaps more so than in seasons past) as genuine facets of strength which demonstrates the ability of the ensemble cast.

The sudden change of pace is refreshing and makes for a non-formulaic set of episodes that means The Walking Dead continues to stray away from the conventions of modern television. While the first eight episodes of the sixth season were disappointing in their slow descent to eventual anarchy in Alexandria, these final six could save a series that many have questioned is waning in its effectiveness. We have had emotion and wit, and carefully crafted tension that is generated from an atmosphere created through the use of lighting and locale, and – most importantly – we have a set of characters we root for.

Welcome back, Walking Dead.

The Walking Dead: Season Six – The Series So Far

The Walking Dead came racing back onto our screens three Sunday’s ago and with a new series came three things: Hoards of the undead, bloody mayhem and brutal kills. The idea to up the anti on the graphic violence is an interesting choice considering the strength of seasons four and five based on the character driven narratives and exploration of humanity they both encompassed. Having said that, season six has thus far presented fans with a visually-impacting thrill ride that has thrown a lot at its audience very, very quickly.

steven yeun as glenn in the walking dead

Who really are these Wolf madmen? Where did Ron appear from all of a sudden? What has happened to Morgan in the time since he last saw Rick? And, most importantly; Has the latter gone completely bat-shit crazy? There are a lot of questions to be answered and thirteen more episodes in which to do so – hurrah. While the series started in a buzz of hectic Walker-sitting and machete-wielding murderers on the loose in Alexandria there was still time for a bit of character development via the always popular background stories. We’ve been able to get to grips with why Enid is so solemn (if the whole Zombie thing wasn’t enough) and had an introduction to one or two new faces. These include Denise, a new doctor in the community, and Heath, an Alexandria resident who is getting to grips with the authority of Rick and Co’ having been out on a run since they arrived.

The most intriguing element so far, thematically speaking, is the idea that Rick is slowly becoming some kind of antagonist to the residents of Alexandria, and even to those he has been with for some time. As Andrew Lincoln steps up as an actor of immense talent, we see a dark side to the lead character who (if we really think about it) lost his mind somewhere in season four. The underlying sub-plot of this has been brewing for some time, as has Carol‘s lack of compassion. The pair have become a kind of terrifying duo that, as an audience, we aren’t sure whether to still root for, or wish people to run from.

Lincoln still predominately leads the show with Steven Yeun as Glenn supporting him in a role that had everyone’s heart in tatters this week. The arrival of new characters always brings an extra dimension to the series and forces new on-screen friendships and shows of camaraderie that – if acted and scripted well – are genuinely moving. Episode one, First Time Again, didn’t match up to the level of intensity and sheer shocks of season five’s No Sanctuary which blew the lid off of previous openers (and apparently this year’s premiere couldn’t quite compete). JSS and Thank You have more than made up for the slow burner of the first inauguration and if writers choose to keep this pace – and maintain the aesthetically impressive action sequences – The Walking Dead’s sixth season could easily be its best yet.

Note: My reviews are based solely on the television series as a viewer with no knowledge of events taking place in the graphic novels.

Fear the Walking Dead: The Good Man, review

The power of Fear the Walking Dead is in the terror it has so successfully conveyed. Among a sea of negativity, the final episode has delivered in performance and narrative, and it can really only go up from here. While not everyone will agree – based on the number of online articles that have so confidently written off the series – Fear the Walking Dead has established itself as a winning formula, one that doesn’t need to draw comparisons with its sister show The Walking Dead.

In honesty, I was pretty worried that series two wouldn’t surface at all following the heap of critical condemnation that this first incarnation has received but, fear not, AMC and Kirkman and co’ have announced that it’s happening. And, it’s happening on a boat. Did anyone else just hear The Lonely Island and Akon then? No, just me? Moving on…

The final episode, The Good Man, said goodbye to characters we were only just getting to know and said hello to a new world. Travis (Cliff Curtis) finally snapped and it turns out Andrew (Shawn Hatosy) really wasn’t such a good guy after all. That new world is one where Walkers do rule and the army are irrelevant. If anything, the presence of the US soldiers in this first season has intelligently suggested that darkness in humanity doesn’t need a hoard of the undead to rear its ugly head; it was there all along. Whether we see that in Reuben Blades’ Daniel Salazar or in any one of the gun-happy army boys, it’s present. That presence is powerful, scary and well-acted. I like it, I like it a lot.

I was the first to nay-say when I heard the initial Fear the Walking Dead reveal. Why did we need a new zombie series? What would it bring to audiences? It turns out that what it brought (and hopefully, will continue to bring), is a lot. The characters might not currently be engaging spectators on the level that Darryl, Rick and Glenn do, and it might not be a minute-by-minute gore fest, but FTWD is slowly but very surely building an insane tension that is brewing like a fancy tea. Expect to find yourself clasping your face and shouting out at the television set come your home-viewing of this final episode as you feel the fear, because that slogan was right; it begins here. The hair-raising score, the questionable actions of those in charge, and the responses of characters who could be me and you – the components for a great television series are all there. While these elements might need some honing, they are well on their way to becoming damn near impressive.

Th show can only get better, and I’m certainly excited to see what happens next with the culturally diverse family that have been placed on our screens, not just to fight flesh-eating zombies, but to break down barriers and represent the multiple groups that make up contemporary America. Well played, AMC.

Fear the Walking Dead – The Dog and Not Fade Away

The motives of army and government officials are always questionable in the zombie genre. Characters wait for their arrival, but events always go down-hill amongst their presence. We’ve seen it in 28 Days Later, Resident Evil and now in Kirkman’s Fear the Walking Dead. With only two episodes to go until the end of season one, the pace of the drama is picking up as the US army takes charge. Episode three, The Dog, and this weeks installment, Not Fade Away, were fantastic examples of Kirkman, Erickson and crew at their best. These latest episodes have also succeeded in proving one simple, yet entirely important, point: Fear the Walking Dead is a completely different entity to The Walking Dead. The only real similarity is the zombie narrative, and comparisons can no longer be drawn.

Surprisingly, the dark content isn’t related to the undead thus far. The real interest is coming from Frank Dillane’s Nick. He’s sneaky and clever as a drug addict willing to do anything to get his fix, and that anything is genuinely questionable. Dillane has an engaging quality despite his little screen time in the past two episodes and his sub-plot is increasingly becoming one of the best of the series. Cliff Curtis is exceptional as the head of the family. Travis wants to believe everything will be just fine and in a sense, he’s you and me, he represents the home viewer. Ruben Blades as Daniel provides enigma in terms of an interesting back-story and his moments of dialogue give us an insight into his torrid past. The Walking Dead has focused itself heavily on the theme of humanity, particularly in seasons four and five, as Rick and co’ have come to realise the biggest threat are those left alive. That same theme is seen in this new series, but straight off the cusp and warped to escape cliches and complaints.

Can we trust the army? Definitely not. Will all of the main cast survive series one? I bloody hope so. Fear the Walking Dead has proved itself to be a series of dramatic worth, with a talented cast – who might just be that little bit better than the large ensemble of TWD – who drive the tense narrative forward. I like it, I like it a lot.

 

Fear the Walking Dead: So Close, Yet So Far, review

With only four episodes to go (gutting, I know) and a whole lot of ground still to cover, episode two of AMC’s Fear the Walking Dead didn’t do a lot in terms of picking up the pace. While we say goodbye to another character – which isn’t necessarily emotional considering how early on in the story we are – we also say hello to some gruesome content. Interestingly, said material is in relation to Nick‘s (Frank Dillane) drug problem, rather than people eating one another. The cold turkey sub-plot is still the most intriguing element to the multi-layered narrative, and the introduction of a new family into the mix is promising. What we have here is a small selection of characters, of different backgrounds and ethnicity’s, and this in itself realistically depicts a contemporary America (ignoring the zombies, of course). Kirkman’s current creation is genre-busting at its very best.

Despite the slow-movements of the virus taking its grip on Los Angeles and the lack of zombie-human combat scenes, director Adam Davidson and co have carefully created an intense and somewhat frightening portrayal of a city in distress. With The Walking Dead we never had the early days of the apocalypse, meaning we didn’t witness the collapse of society as the outbreak takes hold  of America. To produce a series that is entirely dedicated to portraying the beginnings of what Rick, Daryl and gang have been left to deal with is an exciting prospect, and one which I – and I’m sure millions of other viewers – can’t wait to watch unfold. From riots and police ‘brutality’ to distant screams and an ominous non-diegetic score, Fear the Walking Dead is shaping up to be an outstanding series from a talented team of writers, directors, and actors.

 

Fear the Walking Dead, Pilot: review

While I’ve been vocal since the big reveal of a new series that I’m not keen on the Fear the Walking Dead title, in the build-up to Sunday’s pilot episode, I began to come around to the idea of a brand new The Walking Dead spin-off. Penned as a sister series, FTWD brings audiences a bunch of new characters, a vibrant LA setting, and an insightful look into the build-up to the apocalypse. The Walking Dead begins in the midst of the outbreak- most people have already been eaten or turned, and we are placed with just a handful of survivors, with little in the way of clues or answers regarding the initial virus. This in itself raised lots of questions for members of the fan canon, more so now that the Robert Kirkman mega-series is about to go into its sixth season. Because of the total success of the graphic-novel adapted AMC series, I was pretty doubtful at how original, compelling – and even enjoyable – Fear the Walking Dead would be. It turns out, following the 90 minute premiere episode, it’s pretty damn good. To that, I let out a sigh of relief as I begin to eagerly await the next installment.

curtis, dickens and dillane in fear the walking dead

The whole idea that this prequel begins right at the start of the outbreak is such a refreshing approach to a genre which is still loved by many, but tired in several aspects. It’s rare to watch an undead project that gives its audience the low-down from the beginning moments of what caused humans to become flesh-eating monsters, and to see writers Kirkman and Dave Erickson work with that here is an exciting turning point for this category of entertainment. Gale Anne Hurd and David Alpert are attached as executive producers, and while the majority of WD‘s crew have turned their attentions to the making of this new series, we are inundated with a host of unfamiliar faces. With no Andrew Lincoln or Norman Reedus in sight, we dive into the turbulent world of 18 year old heroin addict Nick (Frank Dillane), his worried mum Madison (FNL alumni Kim Dickens), his sister Alicia (Alycia Debnam-Carey) and new step-dad on the scene Travis (Cliff Curtis).

Appearing as a drama series and containing few familiar tropes of the horror genre, Fear the Walking Dead has boldly set out to become something of originality. While the ‘Walking Dead comparisons will remain for the first few episodes, expect Kirkman’s escapades into the world of Hollywood zombies to surpass expectations and become independently – and rightfully – known as its own work. Clearly a slow-burner, don’t expect tonnes of gratuitous gore and a decaying cityscape all in series one, but what you can get geared for, is a character-driven narrative that concentrates on relevant societal themes. I won’t give anything away in terms of spoilers, because it needs to be seen from a fresh perspective, but if the remaining five episodes can shape up to be anything like this initial introduction, we are in for a televisual treat. It’s nice to be pleasantly surprised, right?

 

The Walking Dead; Consumed

With only two episodes left this year The Walking Dead  team are stepping up their game; filling gaps in the plot and bringing together characters from different groups. Consumed, Mondays offering, focused on Carol (Melissa McBride) and Daryl (played by the beloved Norman Reedus). The two have had an interesting relationship throughout the entire series, which at one point seemed as though it may evolve into romance. Consumed, shows us that these two are more of a mother and son combination, which is a rather delicate and well-played out partnership, with both Reedus and McBride giving viewers some of their best work during their scenes together.

norman reedus as daryl in the walking dead

This is the third week in a row we have been away from Rick and the others, and by now the groups presence is being missed. Consumed focuses on Daryl and Carol’s (notice their names rhyme?) foray into Atlanta to follow up a lead on Beth‘s (Emily Kinney) whereabouts, along the way expect plenty of Walker action, and of course, as has become tradition, the trading of some heartfelt back stories. The past two episodes have certainly still been some examples of WD at its best, but generally not the best when it comes to season five. While the combining of different groups, and the separation of certain characters is proving interesting, the sharpness of its predecessors and intensity of the danger the Walkers pose (which is sometimes forgotten due to their slow walking and obvious lack of brain cells) is missing.

An important aspect this week is character development, specifically for McBride’s Carol who stands precariously between the barrier of love and hate. Looking back on moments that brought her character to this position makes for a clever technique in swaying the audiences affections towards her, meaning by the time the episode comes to its final minutes you are left reeling at whats to come for her. The shows ability to swap between time (the earlier scenes in this weeks installment are set before last weeks episode) and place means its almost impossible to become bored with WD, and the strength in acting (particularly from Reedus, who never over-acts as Daryl) is really rather refreshing. In particular watching the change in Carol from season one to now, from a naive and scared woman to a hardened fighter who often lacks sympathy with her fellow survivors, has made for one of the most (surprisingly) riveting elements of The Walking Dead.

Not the best we’ve seen so far, but certainly not the worst.

The Walking Dead – Self Help review

Scrolling through Facebook today (yes, that social convention that takes up a fair amount of time) I came across a status which read “The best part of Monday is hearing ‘Previously on AMC’s The Walking Dead.'”, and I believe its fair to say that you would be hard-pressed to come across a fan who would disagree. Five seasons in, WD could potentially find itself between a rock and a hard place; its far enough in to of cemented itself as a great show, but also at the stage that the final season, and the question of when that will come is a hovering thought. Currently, The Walking Dead is still as thrilling, and exciting, as it was in season one (perhaps even more so), and although the narrative has generally been continuous throughout, the curve-balls thrown in have been enough to keep us all coming back for more. Today’s episode, Self Help, leads one to ask, where next? For the first time. The shock of Eugene (a character we know little about, played by Josh McDermitt) professing that his whole story of the chance for a return back to the life they all once knew, and a cure to the virus that has turned humans into Walkers, was all a lie, left a gap for the thought – where now? Where will the story go next, and where can this whole show now go? If you read the graphic novels, then you’ll have that answer. But for us in the dark, its certainly a thought that makes for a fair amount of day-dreaming, and mental script-writing.

michael cudlitz as abraham in the wlaking dead

A formation that WD has perfected over the past two seasons is that of swapping between characters, and their stories. This week it was all about Abraham’s (and those who left with him) journey to DC, last week we followed Beth, and before that Rick and the crew. This way of storytelling from the makers, means every week there is a fresh narrative in which audiences can sink their teeth into (excuse the pun). Gaining insight this week (however slight it was) into Cudlitz’s Abraham made for new and definitely interesting fare, and discovering that he at one point nearly took his own life added a softer element to a character with a hard exterior. More than this however, the aesthetic of what must be nearly a thousand walkers (I may be exaggerating) was one of the best images WD has given us yet, and almost places you there in the scene. Trust me, its up there with the park Walker of season one (and who can forget that?!). While Self Help didn’t present itself as the best episode season five has given us, it still remains a fantastic offering for the zombie genre. This weeks episode also reminds us that The Walking Dead is an adult show, and one that explores relationships of all types, in a refreshing and human way.

Not an episode of epic proportions, or overwhelming discoveries, but an episode of humble modesty, exemplifying The Walking Dead‘s ability to shine no matter what the subject matter.

The Walking Dead: Four Walls and a Roof

Emotions ran high in this weeks episode of The Walking Dead, Four Walls and a Roof. As we say goodbye to Bob, a character always full of hope, and always on hand to give us a much-needed laugh, we are left pondering what’s to come for the rest of the group. The episode, which once again balanced violence and death with warmth, humanity, and strong character work, saw the official end of the Terminus cannibals and a separation for members of the group (this time by choice). Maggie and Glenn have gone on the road with Abraham (played by acting gold Michael Cudlitz, and fast becoming a beloved character), Rosita and the quiet, but rather adorable, Eugene (who is the key to saving the world, or rather, saving what is left of the world). Despite Bob‘s departure being all too sudden, and something which certainly wasn’t expected so early on in this new season, this was not the moment that held the most strength emotionally. As is usually often the case in WD, it was a moment of words, short and simple, that left one feeling a tug of the heart strings. The words, left from Abraham, for Rick, read ‘Sorry I was an asshole. Come to Washington. The new world’s gonna need Rick Grimes.’, this was so poignant because it feels as though WD is at a seminal point now. Five seasons in, the end, in a positive way, is almost in sight; there’s hope of a return back to the life the group all once knew, Rick finally found Judith, the group are as strong as they’ve ever been and the glimmers of hope get stronger and more frequent. While it feels as though The Walking Dead could last for another five seasons (the graphic novels are still going and producer David Alpert has hinted at seven more), I hope, and I think this is a hope shared with many of the WD fans, that this consistently captivating show doesn’t over-stay its welcome.

the walking dead’s danai gurira as michonne

If there was any fault to pick with Four Walls and a Roof (and this is pretty much just being picky) its that we aren’t seeing enough of Michonne, a character with a compelling back story and one who holds great interest with viewers. She’s tough, but sympathetic, and Danai Gurira plays her with an almost mothering warmth. If you were in this walker-filled world, you’d want Gurira’s Michonne by your side. Despite the lack of dialogue or screen-time given to her so far this season, the moments where she is on screen, she shines. Whether its a close-up to represent a reaction to a particular moment, or a few words between her and a friend, Gurira manages to bring both vulnerability and strength to Michonne. On a final note, Gareth (Andrew J. West), the leader of Terminus, said many a thing in this weeks episode that got the rage boiling inside and the hope that he doesn’t meet a pleasant end even stronger. While these moments reminded one how involving this show can be, it also represented Rick, Glenn, Maggie and the rest of the group as completely individual to those left in the brutal world they now live. That difference is one of the most interesting elements of the show, and something that lends to fascinating back-stories and tales of woe when they meet these harsh antagonists. Keep going Walking Dead, because you’re doing just fine.

Zombie cinema; top picks

Everyone loves a flesh-eating zombie, don’t they? The gnarling sounds of their groaning. Their drunk walk. Their lack of brain cells, the list goes on and on of all the fascinating attributes the living dead host that keep zombie television, cinema and video-games a’coming. As a lover of the zombie genre (about the only partner of horror I can enjoyably watch), I have compiled a short list of the best films about, or involving these creatures that people just love to go crazy about. From Paul W.S. Anderson’s conventional take on Resident Evil to Danny Boyle’s off-the-scale originality of 28 Days Later, this is the ultimate collection of zombie cinema you just have to get your teeth stuck in to (see what I did there?).

Many believe that Romero was the first to introduce the zombie genre to us, however it was 1932 when the first glimmer of this now oh-so-popular sub-genre of cinema was first presented to audiences with Victor Halperin’s White Zombie. Having said that, zombie horror wouldn’t be anything without George A. Romero, and his first offering of zombies in the traditional sense we all now know them. Romero created the mannerisms, the sounds and the aesthetic of the contemporary zombie (they really haven’t differed in look much at all), and we, as an audience, have been spoiled for choice since the 60’s with zombie offerings.

Fun fact: Night of the Living Dead, now a classic to critics and audiences’ alike, was originally panned by viewers for being intensely violent. Romero also used the zombies as a social commentary for a 1960’s consumerist America, and this didn’t go down too well either.

Night of the Living Dead is of course a must-watch. Originally released in 1968, Romero’s fresh take on the living dead set the mark for the rest to come. Everything about the production screamed rebellion, from its filming outside of the studio system, Romero’s deliberate choice to film in black and white (despite color being available at this time), and his abundance for gross-out violence. Night of the Living Dead inspired a generation of film-makers to pick up their cameras and have a go at producing their own versions of a film that would forever be a classic amongst cinema-goers and critics. Heralded in the list of Movies that Matter, if you watch any film mentioned in this article, it should probably be this one. Dawn of the Dead came a decade later, and is the production that is most often mentioned for the formula in which it set; the locale of the mall, the importance of the survival horror element and the wonderful 70’s look and feel the film encompasses. Both helped cement Romero as the Godfather of classic zombie horror.

Staying on the same track with an adaptation, another must-see is Zak Snyder’s ironical take on Romero’s masterpiece; his 2004 Dawn of the Dead. What’s interesting about Snyder’s look at a zombie-filled America is the way he so cleverly manages to make a comment on all of the political, and societal issues he believes to be of importance in the US, in this funny, scary and intelligent horror. Immigration, race, gun-crime, consumerism and much more are all on display, and in quite a refreshing and often humorous way. For me, Michael Kelly is the shining star as C.J., a mall guard with a chip on his shoulder (he’s scared, right? But just doesn’t want to admit it). Its fun to watch characters like C.J., Kenneth (the loveable, and total hard-ass that is Ving Rhames), Ana (Sarah Polley) and Andre (Mekhi Phifer) as they get to know one another (these are people that would of been unlikely to jell before this mess); Phifer a criminal, Rhames a cop and Polley a middle-class nurse. Watching this group survive in the safe vicinity of the mall, and then fight in the horror that lay outside makes for an interesting ride, one which progresses at a swift pace with a stellar soundtrack and witty script. Snyder’s Dawn of the Dead is an exemplary production of classic meets contemporary, and in the best way.

Fun fact: Although he wasn’t expecting it, Romero was pleasantly surprised with Snyder’s take on the directors classic, and really rather enjoyed it. Kudos Zak.

cillian murphy as jim in 28 days later

A change in direction was needed in the zombie film realm, with too much of the same old hat, and not nearly hardly enough production values to make it worth your while. Danny Boyle was at hand in late 2002 to bring us that change, in the form of a  dilapidated London, full of enraged humans (important to note) who are out for blood, and destruction. 28 Days Later is the film at hand, a film that challenges the genre in a way no zombie film had before and a film that focuses on character development and human relationships, not just the grotesque nature of the violence this genre has become so known for. Cillian Murphy is at the center of this unique pick as Jim, a bicycle courier who wakes up from a coma to discover what first seems a deserted London. As night falls the truth becomes apparently, and unnervingly clear; there is no desertion, just blood-thirsty ‘rage’ victims. Murphy shines as a terrified man still hopeful that the world can be salvaged, its this hope that gives the film its realism, who would want to believe this could be it? No one, and Jim is 28 Days Later‘s everyman, struggling to come to terms with the devastation that took place whilst he was asleep. With support from Brendan Gleeson, Christopher Eccleston and Naomie Harris and a fascinating aesthetic used to distinguish Britain as an unrecognizable landscape, Boyle gives us an outstanding zombie film which refuses to follow the formulaic rules of its predecessors. Brilliantly British, and startlingly real. Oh, and if John Murphy’s ‘In the House, in a Heartbeat‘ doesn’t give you chills, nothing will.

Fun fact: To capture famous London landmarks in a state of desertion Boyle closed sections of road off for minutes at a time in the early hours of the morning as to not cause disruption, using a DV camera to create the stark effect he wanted.

the cast of zombieland

Now for something a little more upbeat, and just damn fun; Zombieland. This is a film that everyone can enjoy because of its laugh-out-loud humor and its ability to not take itself seriously, Zombieland is a zombie movie that appeals to the masses (even my mum likes it, and she hates violence and horror films, must be good right?). Comedy and the living dead wouldn’t be something that sounds like it would go together, and before Zombieland Shaun of the Dead was the go-to film for most who wanted a bit of both. However, Ruben Fleischer, the films director, made sure that this became a piece of zombie cinema no-one could resist seeing, or loving. Set after the zombies have already taken over, Zombieland follows Columbus (the fantastically awkward Jesse Eisenberg), Tallahassee (acting legend Woody Harrelson), Wichita (Emma Stone) and Little Rock (Abigail Breslin) as they find their feet in an over-run America. Its hard for a zombie film to stand out as something completely original, but with the help of the cast, Fleischer manages it. What makes it so enjoyable? Scenes of the protagonists tearing up deserted stores just for fun, playing Monopoly in Bill Murray’s house, the finale at California’s Pacific Playland and of course the zombie kill of the week are just some examples of what makes this film so special.

Fun fact: After Bill Murray was finally picked for the films famous cameo actors such as Dwayne Johnson, Joe Pesci and Kevin Bacon were all considered. Wouldn’t of been the same without a bit of Ghostbusters though.

When first reading you may of thought to yourself, “What, Resident Evil?!”, but yes, you read it correctly! Although to many Anderson’s first attempt at giving us a filmic version of one of the most beloved video games of all time is just a lump of generic cheese, to me its an important zombie film that should most definitely be seen. The reason its so important, is the idea that it seems to cherish the zombie film. How, you may ask? Anderson stays true to the conventions of the genre the whole way; the zombies slowly walk, but are still a threat, they can only be killed by damaging the brain, the characters are quintessential zombie film stereotypes (SWAT agents, police, sexy-bad-ass protagonists) and its easy, simple watching. Its uncomplicated, and that’s okay. The original game is something I remember watching my brothers play when I was young, and something that when i got a little older (with the release of the film) wished I could watch, because it has that classic title. While Milla Jovovich may not be the most talented actress, she certainly puts her all into playing Alice, and while the film may not be a work of art, its still a thrill-ride. So, while Resident Evil might not of been on your list of zombie films to watch, it should be, because its unashamed to be what it is: a staple example of what this genre was originally and should still be about – the living dead getting their ass kicked by gun-wielding people.

Fun fact: The zombie dogs were covered in prosthetic makeup and fake blood, which they apparently found so tasty that they continuously licked it off. Diva dogs, ey?

I would love to hear what you would class as the most important, and enjoyable zombie films so please feel free to drop a comment!