
We’ve arrived at Y in our ABCs of Horror series, and we are discussing the “Yokai Monsters Trilogy” (that’s not a real trilogy) of ONE HUNDRED MONSTERS (1968), SPOOK WARFARE (1968), and ALONG WITH GHOSTS (1969).

We’ve arrived at Y in our ABCs of Horror series, and we are discussing the “Yokai Monsters Trilogy” (that’s not a real trilogy) of ONE HUNDRED MONSTERS (1968), SPOOK WARFARE (1968), and ALONG WITH GHOSTS (1969).
THE DEAD DON’T DIE
R – 1 hour and 45 minutes – Release Date: 14 June 2019 (USA)
Written and Directed By: Jim Jarmusch
Starring:
Bill Murray as Chief Cliff Robertson
Adam Driver Adam Driver as Officer Ronnie Peterson
Chloƫ Sevigny as Officer Mindy Morrison
Tilda Swinton as Zelda Winston
Tom Waits as Hermit Bob
Danny Glover as Hank Thompson
Selena Gomez as Zoe
Steve Buscemi as Farmer Miller
Caleb Landry Jones as Bobby Wiggins
Carol Kane as Mallory O’Brien
Rosie Perez as Posie Juarez
Iggy Pop as Coffee Zombie
RZA as Dean
The quirky residents of the small, quiet town of Centerville find themselves overrun with zombies as the dead start to rise.

One of my favorite comedic bits is when a person, who has fallen on the ground, is screaming for their life as a steamroller approaches. Then we get a wide shot of just how far away the steamroller is, but the person continues to scream and flail until the slow-moving steamroller finally finishes them off when they easily could have gotten up and walked away unharmed. That’s Jim Jarmusch’s zombie-comedy THE DEAD DON’T DIE in a nutshell to me, at least the tone of the comedy. Yes, there is some skin deep social commentary, but this film is way more about being an odd-ball, idiosyncratic, deadpan, wacky, and totally self-aware take on the zombie genre.
The story mainly revolves around Chief Cliff Robertson (Bill Murray), Officer Ronnie Peterson (Adam Driver), and as Officer Mindy Morrison (ChloĆ« Sevigny) as they try to make sense of what is happening and how to keep the citizens of Centerville safe. Much has been made of the cast, and they are all amazing, but the true stand out to me was Adam Driver. His dry-wit, deadpan shtick playing against Bill Murray’s straight man routine was a delight. Tilda Swinton also seemed to enjoy every second she got to play the beyond eccentric, new mortician Zelda Winston.
Jarmusch does explain why the zombie outbreak happens, and what social commentary he adds to the film comes from this information as well as a few other scenes. Where George A. Romero’s social commentary cuts like a scalpel, here it’s metered out with a sledgehammer in the most unsubtle ways possible. It feels likeĀ Jarmusch is content with just shining a light on issues like global warming, rampant materialism, racism, fascism, homelessness, and addiction instead of giving us a study on the subjects. So we get quick scenes of zombies searching for wine, coffee, toys, and wifi over real thought provoking moments.
My only complaint was I wish I had more time with the weird, but interesting, characters in town before the undead began to eat their way through the cast. Besides that this was pretty much exactly what I was hoping for when I first watched the trailer. This film won’t be for everyone, and I think many mainstream moviegoers who check it out starting next weekend will walk out disappointed, but if a seriously dry sense of humor (and repeating jokes) is your cup of tea you should be thrilled with this new entry into the zombie sub-genre.
by Joe Meyers
BRIGHTBURN – Rated R – 1 hour 31 minutes – Release Date: May 24, 2019 (USA)
Directed by David Yarovesky
Written by Brian Gunn and Mark Gunn
Starring:
Elizabeth Banks as Tori Breyer
David Denman as Kyle Breyer
Jackson A. Dunn as Brandon Breyer
Jennifer Holland as Ms. Espenschied
Emmie Hunter as Caitlyn
Matt Jones as Noah McNichol
Meredith Hagner as Merilee McNichol
Becky Wahlstrom as Erica
Gregory Alan Williams as Sheriff Deever
Annie Humphrey Annie Humphrey as Deputy Aryes
Steve Agee as EJ
and…Michael Rooker as The Big T
Tori and Kyle Breyer, a couple struggling to conceive a child, find a baby in the wreckage of an apparent U.F.O. crash landing that occurs on their Brightburn, Kansas farm. They name him Brandon, decide to raise the boy as their own, and tell everyone they’ve adopted. Around Brandon’s twelfth birthday his parents begin to see a shift in his personality and, to their eventual horror, this very familiar superhero origin story morphs into something closer to “We Need To Talk About Kal-El.”

Director David Yarovesky and the Gunns have set up a wonderful world, just begging to become a franchise, with BRIGHTBURN. Yes, they’re obviously playing off the Superman story, but there are hints of Garth Ennis’ THE BOYS and Robert Kirkman’s INVINCIBLE here too, mixed with some serious slasher movie vibes. The result is a lean, mean, dark and twisted super-villain origin story.
Jackson A. Dunn does some heavy lifting as Brandon, skirting between a normal pre-teen kid and the monster he becomes in a believable way. I couldn’t help but think of WE NEED TO TALK ABOUT KEVIN as events unfolded. While the script doesn’t dive into the dramatic side of things like that film did, it’s certainly feels like an influence, and Jackson mines the same darkness as Ezra Miller did in the role of Kevin.Ā Elizabeth Banks and David Denman were great as the parents who take in this alien being as their child. Seeing their initial denial of what Brandon was becoming, to questioning if they were being willfully ignorant of what was happening, to finally witnessing their acceptance and how they deal with it was heart wrenching.
The effects were amazing, especially the level of gore the film provides at times. I wasn’t quite expecting that, and it was a welcomed surprise.Ā There’s a scene involving an eyeball that hasn’t made me cringe that much since Lucio Fulci’s ZOMBI 2. This is really where I felt the inspiration from Ennis’ THE BOYS, showing the carnage of how normal people would, or wouldn’t as it were, hold up against super powers being used against them.

I felt like this film was made just for me, and I thoroughly enjoyed every moment of its lean run time. It surely won’t be for everyone, and I could actually see this finding a niche audience not unlike producer James Gunn’s 2010 film SUPER. As I left the cinema all I could think about is where they could go in this world from here. I crave a further bizzaro swap of character roles by seeing a Lex Luther type begin to hunt down evil, super-powered beings, Van Helsing like, after the events of BRIGHTBURN. Questions also swirled around my mind of where Brandon was from, if he was the last of his kind, or if he was sent to conquer Earth ahead of a full on invasion. There’s so much potential, so much more to discover, and I hope it’s all able to be explored in the future.

The letter is X, and we’re gonna give it to ya! In this installment of ABCs of Horror, we discuss and review X THE UNKNOWN (1956), X: THE MAN WITH X-RAY EYES (1963), and XX (2017).

We felt it was time to start revisiting some of the topics we discussed in our formative episodes many moons ago, and the first one on the slab is remakes and reboots! Have a listen as we give our personal top ten lists of remakes and reboots, and be sure to check the links in the show notes for the Letterboxd companion list and where to listen to the episodes from the dark ages.

As we crawl ever closer to the end of our ABCs of Horror series, we have reached W. The selections this time are WE ARE WHAT WE ARE (2014), WE NEED TO TALK ABOUT KEVIN (2011), and WHAT LIES BENEATH (2000).

It’s time once again for ABCs of Horror, and we have reached V. The films of choice this round: VELVET BUZZSAW (2019), VERONICA (2017), and THE VOID (2016).

āI canāt accept this concept of intelligence.ā ā Mayor Charles Silverdale
Fredric Hobbs must have meant that when he wrote and directed 1973ās Godmonster of Indian Flats, because if he did accept a concept of intelligence, more than one character in it would have had some!
Okay, so let me back up a bit. First, apologies for the time gap between now and my last blog in this series. Iām inherently lazy and will slack off when given the opportunity. Second, the only reason this movie even came onto my radar was due to a search I was doing for films from 1973 that I could use for myĀ “Birth Year Challenge” list on Letterboxd. And third, as soon as I saw the ratings and read the synopsis, I knew this would fit perfectly for the series and get me off my ass to write a post. So there.
(Spoiler Warning ā I breakdown the whole film from here on out.)
Our story takes place in Comstock mining region of Nevada and opens with a heavenly choir and fake sheep bleating. The sheep are right there. Why they dubbed them, I do not know. We meet a young shepherd, Eddie, who goes into Reno and promptly gets hustled out of his gambling winnings after being taken by Elbow Johnson (seriously, thatās his name) to the historically restored mining town. Everyone with a position of power in the town is in on the racket, from the mayor and the sheriff, all the way down to the madam of the brothel and the local bartenders.
After getting rolled, Eddie is taken under the wing of Dr. Clemens (from Cambridge!), an anthropologist with a lab in the area. The doc takes Eddie back to his sheep ranch to recover from the beating and the booze. While Eddie is passing out in the sheep pen, a yellow glow and weird lighting begins to happen, accompanied by people just out of frame waving some very confused looking lambs around in the air. Suddenly one of the sheep essentially screams and pops out what looks like a twenty-pound placenta that also groans!

Jump to the next morning with Dr. Clemens and his student and lab assistant Mariposa checking up on Eddie. When they find him hiding in the straw next to the āhybrid embryoā (hybrid with what?!?), the doctor goes into full SCIENCE! mode with this find of the century and takes it back to his lab. I wish I could find some info on what exactly they used for the exterior set of the lab, but you must see it to really appreciate the absurdity of it.
While hijinks ensue at the lab for Eddie, Mariposa, and the doctor as the embryo grows, the parallel plot of Mr. Burnstable, a representative for a European mining corporation, trying to obtain the land rights of the area from Silverdale and his henchman, Philip Maldove, further shows the corruption within the town. Corruption to the point of (brace yourselves for this one) the sheriff having his dog play dead and making it look like Burnstable shot it during a target shoot game. They even have a funeral in the church, with a casket (that barks when opened!), all in an effort to discredit Burnstable and turn the townsfolk against him. I should mention that the sheriff sports a nice set of workman coveralls that he tacks his badge onto.

Cut back to the lab and Dr. Clemens spouting 100% meaningless scientific jargon that almost sounds significant. The hybrid embryo continues to grow and look weirder each time we revisit it. Burnstable, with the help of Madam Alta, manages to escape a āvigilance committeeā lynching following another frame up attempt by Maldove and Silverdale. They seek refuge at Clemensā lab, and in the standoff that features eight or nine tear gas rifles (and cannisters that explode three or four times, depending on which clip gets recycled), the titular āgodmonsterā breaks loose and kills one of Silverdaleās men.

As hard as it may be to believe, at about the 70-minute mark of this 88 minute movie, we get one of the weirdest and funniest scenes of the film as Mariposa goes after the creature. Weird for the fact that she essentially dances with the thing to calm it down and show sheās friendly. Funny because of the following line: āDonāt be frightened. Iāve been following you all the way from the glory hole!ā

The posse of Silverdaleās men and Dr. Clemens recapture the creature, and then the film really goes off the rails. As heās having Burnstable driven out of town, Silverdale admits to dealing with the mining company directly after he bought up all of the local rights from everyone else in the interest of āconservationā even though he has every intention of reopening the mines. The townsfolk learn of the betrayal, a riot ensues, people are killed, Silverdale rants like a madman, repeating lines heās spouted earlier in the film, and the creature gets killed in a truck explosion. ⦠Credits.

Low as hell budget, bad acting, bad script, and an unforgettable creature costume of an 8-foot-tall hybrid sheep monster. What the hell did I just watch?? Well, itās on Amazon Prime at the time of this post, and you can go check it out for yourselves and ask the same question after.

Last minute change of plans for Jenny lead to a dudes only episode as Joe and Chris cover the news and whatnot.

In this installment of our ABCs of Horror series, we discuss and review US AND THEM (2017), UNSANE (2018), and UNDER THE SHADOW (2016).