Current Movie Reviews- Arrival

        The genre of science fiction runs on a spectrum. There are two major subgenres, "hard" and "soft" science fiction. Hard science fiction generally centers around what are known as the "hard" sciences, that being the sciences which have a heavy emphasis on mathematics, and is thus adhere closely the laws of the physical world. Soft science fiction tends to focus on culture and society, and deemphasizes the hard science, in favor of more, shall we say, fantastic speculation. Now, these are very nebulous, and there are elements of both in some works. However, these tend to be the two sides of science fiction. Arrival appears to be one of those exception, which generally takes elements from both. It is a hard science fiction film, about linguistics, a field which doesn't tend to focus on mathematics. Yeah, as a feature film, it doesn't dwell too much on linguistics, but it is a major element, and its application to the translation of an literal alien certainly does raise implication, on how we could possibly interact with aliens in the future. This was definitely a fascinating film.

       Based on the short story "Story of Your Life" by Ted Chiang, Arrival follows the, well, arrival of twelve alien ships across several locations on the Earth, which causes widespread fear and panic across the world. Colonel Weber (Forrest Whittaker) hires linguist Louise Banks (Amy Adams) to be part of an exploration group into one of the ships in Montana. Along the way is theoretical physicist Ian Donnelly (Jeremy Renner). Banks seems to be haunted by flashbacks of her deceased daughter. She manages to determine that the aliens writing and speech are separate, and uses a single word of their language (human) to break down the language barrier. Thus, they are able to decode the language, and begins a communication with the aliens. However, around the world, militaries begin to take premature precautions. In particular, People's Liberation Army Commander Shang (Tzi Ma) is prepared to declare war. Matters are not helped, when the aliens claim to bring a weapon to the humans. As the international chaos continues, Banks and Donnelly unravel the mystery behind their intentions. And even the supposed flashbacks Banks is having....

      Certainly, the "First Contact" trope is nothing new fiction. People going back centuries have written about encounters between aliens and humans. This film decides to focus on one of the major elements of the trope, decoding the language, and starting it off from there. It properly shows how an alien language, which comes from the ink out of an alien's hands, can actually be decoded, if the humans and extraterrestrial reach an understanding. The fact that their words are not representations of speech, but rather entire concepts cements how alien they truly are. Time is also a major subtext, with the various flashbacks and mentions of time. There is an ingenious twist at the end, which I will not spoil, but it builds off the rest of the movie, and makes you reconsider the rest of the film in that context. The fact the film seems to flash back actually underscores the twist even more. I also liked how rather than tell you the effects immediately, hint at them, and use them to resolve the conflict. The alien design, while nothing special, does serve a narrative purpose, in terms of how they communicate.

      I would've liked to have seen a bit more of the international crises going on in the background, especially with General Shang and the People's Republic. He barely appears, and as the antagonist, he deserved more characterization. A little bit more explanation on the aliens would've been nice, particularly what sort of atmosphere they came from, since they are able to walk, but also "swim" in this fog like atmosphere. It bothered me. At first, I thought they might have evolved on a gas giant, but 1.) How could they have constructed a metallic ship, and 2.) How would they be able to walk. It bothered me through the movie.

     Yeah, I might be biased, since I enjoy movies like this, but I think this is one of the best pictures of the year. A nice exploration into language, and how we communicate, and how we might communicate with extraterrestrials. If you're interested in such topics, I highly recommend this movie. It really adds a new spin on the subject of "First Contact", that many works haven't explored. And I certainly wish this movie produces discussion on such topics in the near future. 

Masterpiece of Horror Theatre- The Exorcist

      In 1949, reports came in across several newspapers of a young man in Cottage City, Maryland, (around 14 at the time), going by the pseudonym "Roland Doe" or "Robbie Mannheim", whose erratic behavior made him the subject of a series of exorcisms by several local Catholic priests.This incident became the subject of speculation for decades, including claims (even by the ones doing the exorcism) that the boy merely suffered mental illness, or had even just been making the events up for attention. Regardless, occasional screenwriter and author William Peter Blatty used the incident as the basis of the 1971 novel The Exorcist, though only the idea of an exorcism was used, other details were changed. This was all it needed to be very controversial in its time. Warner Brothers got the rights to make the film adaptation, and, after directors like Mike Nichols and Stanley Kubrick ultimately passed on the project, chose William Friedkin (known at the time as the director of The French Connection, which was why he was chosen) to direct. Blatty served as both screenwriter and producer. Many child actresses were screened for the part of Regan MacNeill before Linda Blair was chosen. After a difficult filming process, where the actors were often either shocked by the content, or physically injured during the more intense, the film was released on December 26th, 1973. It was immediately controversial, with people either fainting from shock during the film, or throwing up in the aisle. Others condemned the film for its content, mainly revolving around the depiction of the exorcism. Still, it garnered critical acclaim, and became the first horror movie to be nominated for Best Picture (while it didn't win, it won "Best Adapted Screenplay" and "Best Sound Mixing"). However, during editing, Friedkin made the decision to cut several scenes from the movie. Many years later, these scenes were cut back into the film in 2000, with this being the version in most DVDs. The film is considered one of the greatest horror movies ever made.

    The film opens in northern Iraq, where Father Merrin (Max von Syndow) finds a strange amulet for the pagan god (and demon) Pazuzu (Mercedes McCambridge), a demon he had encountered years earlier, and after viewing the statue of Pazuzu, he realizes Pazuzu. The narrative shifts to actress Chris MacNeill (Ellen Burtsyn) and her daughter Regan (Linda Blair). While Chris is in Washington, DC, for a film shoot, Regan begins to exhibit strange behavior. These behaviors begin to escalate, including strange events happening around Regan, (like steps in their attic, or objects moving around her) and Chris' director, Burke Dennings (Jack MacGowran), getting killed while watching over Regan. After doctors and psychiatrists fail to find an Earthly cause for Regan's problems, one of the doctors suggests an exorcism, and tells Chris to find Father Karras (Jason Miller). While Karras is skeptical, seeing Regan gradually transform into a human representation of the demon convinces him, and he agrees to do the exorcism. However, he needs help, and gets Merrin to come and help him out. Together, they try to compel the demon to leave Regan's body.

     I suppose I should start with the first thing that impressed me about this film: the music. It helps build the atmosphere of the film, and accentuates certain events. The opening title screen uses a discordant music score the same way 2001 did to great effect in both cases, to give the audience an unsettling feeling going into a film. This is the definition of a good horror score, one which doesn't distract from, but adds to the fears of the film. The build-up also works, giving each main character personalities, and enough background to really care for them, when events begin to turn south. Foreshadowing is also used to great effect, sometimes very subtly. The cinematography emphasize the strangeness of these events, their effects, and their brutality. The effects are deservedly praised, and it is worth the hype in terms of horror, as there are some very terrifying scenes in the film. Mercedes McCambridge's groggy voice with the heavily scarred make-up and puppet are, to put it bluntly, very creepy, and sometimes, her shouts shook me. The stare was also slightly unnerving. It unnerved me when I was 11, and it hasn't really changed.

   A few people told me that the film came off as a little ridiculous when viewed today, as opposed to 1973. Which, I admit, is somewhat true in some scene. They aren't really so much scary, as overly ridiculous or absurd. Some scenes noted for their horror are more silly today. There are still enough scares to creep you out, but not as much as I thought. I also wish it had taken up more of the movie, since if it was prolonged, it could've been much scarier. I think I watched the shorter version (because the longer version had a scene of her spider-walking, which I can't recall seeing), so maybe it was done better in the longer version.

   Had I watched this film when I was 11 or 12, it would've scared me out of my wits. Today, I think the effect select scenes had on me when I was that age has been numbed by other horror movies. Still, this very much lives up to the hype of a chillingly effective horror movie, and a good overall film, and should be watched along with other pieces of classic cinema. For me, while I'm not usually into supernatural horror, I might seek out and watch the extended version, just to compare the two versions.

    Thank you all for reading this years Masterpiece. If you're new, I did one of these last year, and all reviews are still available. For now, the terror shall retreat from the land of living until this time of year next year. Have a Happy Halloween, ladies and gentlemen. 

Masterpiece of Horror Theatre- Theatre of Blood

      Not much I could say on the history of this film. Vincent Price apparently did this movie to show his considerable Shakespearean abilities (having started out doing Shakespeare on Orson Welles' Mercury Theater in the 1930's.) He was offered the project by his friend and former agent, Sam Jeffe. Sure enough, it became a personal favorite of Price's among his filmography. It was notable for having been shot entirely on location, with the Putney Hippodome and the Kensal Green Cemetery in London being primary shooting locations, as opposed to studio locations. Many West-End Actors were secured to star in this film. To produce the murders, over six gallons of fake blood was used. Price was introduced to his future wife Carol Browne through his co-star Diana Rigg (most famous for her role as "Emma Peel" on the British television show The Avengers, no, not related to that one. Co-star Ian Hendry also starred in The Avengers. ). The film now has a 72% on Rotten Tomatoes, and now has a stage adaptation, with Jim Broadbent and Riggs' daughter Rachel Sterling in the lead roles.

      Stage actor Edward Lionheart (Vincent Price) considers himself one of the greatest Shakespearean actors of the modern era. Thus, when he is snubbed for a "Critic's Award", and promptly acts out, humiliating himself, he decides to enact vengeance on the critics who had given him poor reviews and had taken his award from his clutches. Helping him in this endeavor is his daughter Edwina (Diana Rigg), who adopts a disguise using a fake mustache and beard, who assists him in faking his suicide, and getting in contact with a group of vagrants on the Thames, who become his "stage players." Once he has murdered three of the critics, one of them, Peregrine Devlin (Ian Hendry) figures out the murders are themed around the Shakespeare plays that Lionheart has performed in, and teams up with Police Inspector Boot (Milo O'Shea) to figure out the murders, and hopefully stop Lionheart.

     Vincent Price is this movie. He simply has a large presence around the entire film. While he is deliberately overacting, it is legitimately great to watch, and he is incredibly charismatic, delivering a certain demented glee when performing these murders. It's clear he is having a lot of the fun  He also delivers Shakespearean monologues in a way that would actually work in a real Shakespeare play. He really could've done very well in an actual Shakespeare movie. He basically towers over all the other actors in the feature, though most of them do fine. This also had a very interesting and creative idea for a serial murder film. Reenacting many Shakespeare's own murder scenes, or reinterpreting certain scenes, (like a metaphoric line in The Merchant of Venice). It's mostly uses black comedy and absurdity over actual horror to portray these murders.

     That said, it isn't particularly scary. It's quite gory, though, and sometimes disturbing, but never actually scary. I would've preferred some more actual scares, making the murder of the critics have more impact. As is, some of them are simply too silly to really take that seriously. There are also the occasional plotholes and contrivances to get the plot going. There's also no mystery to the whole affair. We know basically from the beginning that Lionheart is the murderer, and thus, Devlin and Boot's investigation has no suspense. Similarly, the fact that the Lionheart's bearded assistant is his daughter is treated as a big twist towards the end, but you could figure it out just through sheer logic. This mostly kills any suspense the film may have had.

     This was a fun, jaunty sort of ramp, one made so Vincent Price could belt out Shakespearean monologues, while also committing murders. I had a lot of fun watching it, despite it not really being a particularly deep film. This would be a good, fun Halloween watch, to just watch and have a good time. It's also for those who like the violence in Shakespeare plays (as opposed to the monologue, the classic dialogue, the themes...)

Next time, we conclude this year's Masterpiece with a film I've been avoiding for the past few years, but will finally confront: The Exorcist.   

Masterpiece of Horror Theatre- Occulus

    Director Mike Flanagan produced a short film called Oculus: Chapter 3 – The Man with the Plan, using a single setting, and a single mirror, in 2005. This short film garnered acclaim, and studios began to offer him deals to turn the short film into a feature film. However, most of these offers wanted to turn the feature into a "found footage" movie. After passing on most such offers, Intrepid Pictures finally made an offer which actually said not to do it found footage. It eventually got other production companies involved after completion including.... wait, WWE films?But, this has nothing to do with wrestling. Apparently, they got involved after the film was shown in Toronto, but still. Why? Anyway, filming was completed in 24 days in Fairhope, Alabama, and the film was released in 2014 to generally good reviews and good box office.There is apparently a Hindi remake called Zahhak. Flanagan has gone to direct more feature. As of this writing, (October 23rd, 2016), his most recent picture Ouija: Origin of Evil is out in theaters.

        The film follows two narratives. One narrative revolves around siblings Tim (Brenton Thwaites) and Kaylie (Karen Gillian) reuniting after Tim has been discharged from a psychiatric hospital. Tim was accused of having murdered his father, who had killed his mother, while stating he had been under the influence of a mysterious mirror 11 years ago. Kaylie and her boyfriend (James Lafferty) have managed to retrieve that same mirror, and Kaylie, having documented the extensive history of it and strange occurrences around it, tries to find a way to destroy it by researching it. Tim has been convinced at the psychiatric hospital that he had hallucinated the whole incident, despite Kaylie's insistence on the contrary. As Kaylie tries to research the mirror, and the siblings argue, the second narrative arises, this one dealing with the incident itself, when Tim (Garett Ryan) and Kaylie (Annalise Basso) were pre-teens. After their father, Alan (Roy Cochrane), a software engineer, gets a new mirror, he and their mother Marie (Katee Sackhoff. Yes, Starbuck) begin to act strangely, with Alan remaining in his office all day, becoming obsessive with it, and Marie having disturbing hallucinations, about scars. This slowly degenerates their minds, as their children watch helplessly, all while in the present, similar things begin to happen to them.

        This film has some of the best use of jumpscares I've seen. Unlike other films, sometimes, the tension doesn't build to a jumpscare. Sometimes, it just happens out of nowhere, and the tension is there just to build atmosphere. Most of the actors do good, as a family that is slowly degenerating into madness. The breakdown of the nuclear family is nothing new, but it's portrayal  here is disturbing, with the mental breakdown of the mother in particular being very graphic in nature. There is also the psychological aspects to consider. Perhaps this was going on entirely in their heads. Perhaps, Tim's comments on possible rational explanations were plausible. There could be some sort of placebo effect on them. Or, the mirror subtly brought out the baser instincts of the people it comes into contact with. I enjoy films with multiple interpretations.

      The interaction between the two narratives sometime murky. While it's usually easy to tell which timeline we're in, by the end, it sometimes gets confusing. While I praised the jumpscares, the film itself isn't very scary. It is more creepy and unnerving than actually scary, and frankly, it didn't stick with me the same way a very scary horror film can (I had the same problem with The Witch). It is more interesting than scary. Finally, it lags a bit, though not enough to slow it down.

    Like I said, I didn't find the film very scary, so if you want a scary film to watch with your friends, then you won't find it here. If you want to see a film to ruminate and contemplate over, and have a brief unnerving experience, this would be a good one.

    Next time, we go in a different direction. Vincent Price's Theatre of Blood.

Masterpiece of Horror Theatre- 20 Million Miles to Earth

            At the beginning of this month, I discussed famed special effects director Ray Harryhausen. I mentioned that Harryhausen got his start making b-movie monsters. After becoming an assistant to his ideal Willis O'Brien (who did the effects for The Lost World and King Kong, and doing the legwork on the O'Brien film Mighty Joe Young, Harryhausen made his debut with the film The Beast from 20,000 Fathoms. This cemented him as O'Brien's successor as Hollywood's premier stop-motion creator. This film was originally The Great Ymir, before it was changed (possibly to prevent the confusion between "Ymir" and the Arabic word "Emir", which is also why the creature's name is never said in the actual film). Harryhausen and actress Charlotte Knight wrote the main story, which was adapted to screenplay by Bob Williams and Christopher Knopf. Academy Award winning director (well, technically he won it as an art director, but still) Nathan Juran directed, and longtime Harryhausen collaborator Charles Schneer produced. Originally set in Chicago, Harryhausen decided he always wanted to visit Italy, so he changed the script accordingly. Filmed in the US and Italy, it was filmed in black and white due to budget. Harryhausen had wanted to film in color, and after Juran's death in 2002, worked to have it colorized (this is the version I saw.)  This was his last monster movie before he transitioned towards fantasy fare, and also his last black and white film.

    The film opens in a fishing village in Sicily, where several fisherman witness a rocket crashing into the ocean.  Mondello (Don Orlando) and Verrico (George Khoury), two of the fisherman, with young Pepe (Bart Braverman) in tow, investigate, finding two of the crew members, Calder (William Hopper) and Sherman (Arthur Space), unconscious. They bring them back ashore. Meanwhile, the Pentagon receives word that the ship had landed near Sicily, so General McIntosh (Thomas Browne Henry) goes to investigate. While on the beach, Pepe finds a strange metal capsule, with some strange green object inside. Mondello heads to the trailer of Dr. Leonardo (Frank Puglia), a zoologist, to help heal the men. While he can't help, his granddaughter Marisa (Joan Taylor, who inexplicably speaks with an American accent, despite being in Italy) goes, because she is a medical student. Pepe meanwhile, sells Dr. Leonardo the green object. Marisa comes in time to see Calder wake up, and try to wake up Sherman, who has some strange infection. Sherman says that the whole crew had been wiped out by this infection, before succumbing to it. Marisa returns to the trailer to find a strange creature, who had emerged from the green object. Leonardo and Marisa trap it in a cage they have, and plan to study it later. Meanwhile, McIntosh meets with Calder and the local police commissioner (Tito Vuolo), and an Italian government official (Jan Arvan) Calder and McIntosh inform them that the mission was actually to the planet Venus (which technically should make the title "24 million miles to Earth"), and the strange capsule was actually holding a creature they found on the surface. The spacecraft was pelted by meteors, which broke the capsule, and caused the infection. Pepe (after a strange hangup about keeping his cowboy hat), shows them the capsule, and tells them where Dr. Leonardo lives. Meanwhile, Leonardo and Marisa wake up to find the creature much larger than it previously was, and travel with it briefly, while Calder, McIntosh and the Commissioner follow them. Eventually, the creature escapes, and rampages through the Italian countryside, and may end up in a certain "Eternal City".

        Okay, the effects to create the Ymir was good, of course. I really hate to repeat myself on that matter. The actors seem to do fine interacting with it, even though during filming, there was likely nothing there. I like that the Ymir was not a vicious, bloodthirsty creature, but more a confused animal, increasingly scared at its new surroundings, and growing at an unnatural rate on this planet (as opposed to suffocating) There is also the fact the Ymir is not carnivorous. It actually consumes sulfur, which usually comes from volcanism (volcanism being a prominent feature on the Venusian surface), which actually plays into the story. The Italian setting is not cosmetic, it actually does serve some purpose in the story, with the different strategies of the American and Italian officials actually being a point of tension at one point.

    That said, it was really easy to tell who was an American playing an Italian, and an actual Italian. Some of them had really fake sounding accent. (the actual Italians were really apparent). This was somewhat distracting. Okay, at least they attempt the I don't think some things were ever explained. Like the infection. I think it was implied the Ymir brought it on board from Venus, but that was never really explicitly stated. Also, obviously there is a romance between Calder and Marisa, and it is basically slows the film, and is completely pointless.

       Honestly, I wasn't expecting much from this. The only reason I did it was because it was set in Italy. It was actually quite a surprise, in how good it turned out to be. This is the better version of the film The Thing from Another World, and is a much better execution of that idea. It's also a good monster movie, with plenty of rampages and large sets. And if you enjoy monster movies, this is a pretty good example of the genre.

      Next time, we take a look at a most recent critically acclaimed horror film, Occulus.

           

Masterpiece of Horror Theatre- Quartermass II

     (I'm sorry for the lateness of this. I had other matters to pertain to)

      Last year, I discussed the Quartermass franchise, and the third film in the franchise from Hammer (If you want the full history, go read the Quatermass and the Pit review from last year). Anyway, Nigel Kneale, the creator of the character, really disliked the first film, and when Hammer Films adapted the second serial (having gotten the rights before it was broadcast), he opted to write this sequel himself, albeit only the first draft. Subsequent draft were rewritten by director Val Guest, who directed the first film, and returned to direct this film. Unfortunately for Kneale, Brian Donlevy, one of his most hated aspects of the first film also returned. During filming, Kneale claimed Donlevy was intoxicated, and could barely read through his lines (a claim denied by the director). The budget of the film, at around  £92,000 (around 70% of which was contributed by American studio United Artists), was higher than the first one. It was originally filmed in Ansco Color, but the finished film is in black and white. Released in the UK on May 24th, 1957, and later in the US under the title Enemy from Space, it received mixed reviews and moderate commercial success. However, the larger success of Castle of Frankenstein caused Hammer to shift its focus towards Gothic Horror, and the third serial (which was released about a year later,) would not get adapted for another 10 years. Notably, it is one of the first films to use "2" in its title to indicate that it's a sequel to a previous film.

         The film opens with a couple franatically driving through the countryside. The man had apparently been struck by a mysterious object. They literally run into Professor Quatermass (Brian Donlevy), who retrieves the meteorite from the couple. He heads to Winnerden Flats, where he is examining a recent downpour of meteors. In his downtime, he is also detailing his plans for moon colonization, which hasn't had much support from the government. When he and one of his colleagues Marsh (Bryan Forbes), locate one region of high meteor activity, they run into a complex much like the one Quatermass had conceived of for the moon. Forbes picks up a rock, and is knocked out by a gas. Guards arrive, and Quatermass is kicked out. Quatermass then goes to his old friend Inspector Lomax (John Longden) (he played a supporting role in the first film), who gets him in contact with MP Vincent Broadbent (Tom Chatto), who arranges a tour of the complex. However, when Broadbent tries to investigate further, he disappears. Quatermass attempts to find him, only to see him tarred in a strange black substance. Quatermass also learns that people are being infected with a certain V, leading him to a terrifying conspiracy, involving beings not of this Earth.

        This is better than the first Quatermass movie, which could be chalked up to Kneale actually writing this film. The mystery is handled in a far more interesting manner, and the problems have more intellectual solutions than the first film. The conspiracy is actually reminiscent of Invasion of the Body Snatchers from several years earlier, and this handles that theme well. The cerebral science fiction elements are usually very good in these, and this is no exception, with the concept of aliens trying to survive on Earth, much as humans might survive on the moon, is an interesting parallel.

     Brian Donlevy was ill-suited for this role. Granted, he wasn't terrible in the first movie, or in this one for that matter. It's just his gruff, American action man demeanor is very out-of-place in the English countryside setting. An English actor would've probably been better for the role, as he would've fit. Donlevy's American accent is never commented on in the film, which is bizarre. Maybe he's doing a British accent and I didn't notice. Also, it had some pacing issues, like the other two films did, though this one is a bit faster. Finally, the special effects are not great, but given the era, they are serviceable.

     I've seen all three movies now, as well as the final Quatermass TV serial from 1974 (I need to watch the other three serials. I think Quatermass II and Quatermass and the Pit are mostly intact from their original runs, and they remade The Quatermass Experiment a few years ago). In that context, it isn't as good as Quatermass and the Pit or the 1974 serial, but it is a significant improvement on the first film. Really, none of these are "scary" per se by today's standards. They work better as good science fiction mysteries, and intellectual musings. If you want something like that, I highly recommend checking this film (and really the other two as well) out.

   Next week, we return to the films of Ray Harryhausen with a more appropriate feature: 20 Million Miles to Earth

Masterpiece of Horror Theatre- Shaun of the Dead

        Many of you probably know Edgar Wright as the director of films like, well this one, Hot Fuzz, The World's End, and perhaps his most well-known Scott Pilgrim vs. the World. Visually stunning and interesting pictures, which also showcase excellent physical comedy. Wright actually got his start co-creating the British sitcom Spaced, with future frequent collaborator (and best thing about the Star Trek reboot) Simon Pegg and Jessica Stevenson, both of whom star as two strangers who pretend to be a couple to rent a flat (a British term for apartment). In the episode Art (aired October 8th, 1999), Pegg's character Tim, after consuming some amphetamines, hallucinates about actually killing zombies while playing Resident Evil 2. That's really the entire genesis of the film. Wright and Pegg realized they had a shared affinity for the classic Romero zombie flicks, and decided to create a parody/homage to the genre, starring Pegg and fellow Spaced co-star Nick Frost. It stars Stevenson in a minor role, and many other British TV actors (including Martin Freeman in a cameo). Wright had to take several TV directing jobs (and had to borrow money from friends), while shopping the concept (then called Tea Time of the Dead) to several studios. After securing a studio, filming commenced between May and July 2003. Released in 2004, it not only garnered critical acclaimed (listeners of BBC1 listed this as their second favorite film), but George A. Romero himself was so impressed that he cast Wright and Pegg as zombies in 2005's Land of the Dead. This film would be the first of the Cornetto trilogy (named for the Cornetto ice cream, which is featured in all three films. In this one, Shaun uses it to get over a hangover, a reference to how Wright himself once got over a hangover.)

       Shaun (Simon Pegg) is a 28 year old electronics salesman, having relationship problems with his girlfriend Liz (Kate Ashfield). The two spend every date at Shaun's favorite pub, the Winchester, with Shaun slothish friend Ed (Nick Frost). Liz is forced to bring her two friends, David (Dylan Moran) and Dianne (Lucy Davis), to make up for this. He also has a sordid relationship with his step-father Phillip (Bill Nighy) Shaun promises Liz that he'll pick a much fancier restaurant their next date. However, after a particularly harsh day at work, he fails to get the reservation, and Liz breaks up with him. After a failed attempt to win her back, Shaun and Ed spend the night at the Winchester, and get very drunk. Drunk enough, that they don't notice the developing zombie apocalypse that Shaun had failed to notice earlier has become full-on. After Shaun and Ed fight off two zombies in their backyard, Shaun resolves to save both his mother (Penelope Wilson) and Liz, and wait out the crisis at the Winchester. Things don't go as planned.

        As an Edgar Wright feature, you can expect very active cinematography. Every shot is dynamic and there are several subtle gags focused entirely on physical elements. The visual gags are very good, and gained a small laugh every time. Not that the dialogue is not also funny. Really, all a comedy needs to be is funny, and this is very funny. Not as funny as Hot Fuzz or The World's End, but still a solid comedy. One particular stand-out scene is when they take on a zombie to Queen's Don't Stop Me Now.  Similarly, the build-up to the zombie apocalypse was very good. Shaun almost has that moment, when he realizes the world has changed... but keeps getting interrupted. Simon Pegg is, well, he's always good, as is Nick Frost,  and both usually have excellent chemistry in any movie they're in. The other actors do well in this.

    Honestly, not much is wrong with the film. Sometimes, the gags fall flat, or they repeat jokes that weren't really funny to begin with, but there are enough better gags that those don't run the film. It isn't as in your face as Hot Fuzz or Scott Pilgrim, and that's a flaw, because it would've been funnier had it taken more advantage of visual jokes. There are funny visuals, but there should've been more and more apparent.

   As you could tell, there isn't much I could say about this, other than, "Really Good, really funny" If you like visual comedies, or you enjoyed Wright's other works, or want a good zombie parody, or just want a really good film, check this one out. And while you're at it, watch the rest of the Cornetto Trilogy (I consider Hot Fuzz the funniest movie I have ever seen, and The World's End is pretty good as well).

Next time, we go back to the underrated Quatermass franchise with Quatermass II.