The season’s pattern of focusing on one area at a time continues this week, where we finally learn that Sasha and Maggie did in fact make it back to the Hilltop community. There has been some criticism about the choice to use this format to tell a linear story, but the reality is that this method allows the plot to progress without unnecessary filler scenes.
My previous assessment of Gregory stands. But not only is he smarmy and arrogant, he’s also a coward and a misogynist. He doesn’t want Sasha and Maggie to stay, regardless of Maggie’s condition. Gregory’s fears about the two women staying are realized later that night when they’re all awakened to the sound of music coming from an old Gremlin that has mysteriously gotten through the gates. Fires blaze all over the encampment, as walkers invade. Maggie, Sasha, and Jesus quickly jump into action and take care of the problem.
I have issue with this, because this camp is suppose to have lookouts and people who protect the boundaries, or so we were led to believe last season. Instead, no one else is to be seen or heard from, except for Gregory, who looks on from the protection of his mansion for a half a second before slithering back into the darkness.
While Rick is out on a supply run and Michonne is off doing awesome katana-wielding things, Carl spots Enid trying to leave Alexandria. He swears he’s not going to save her, but he ends up following her and unceremoniously smashes the car he’s driving when she’s set upon by a walker at an abandoned gas station. The two continue on together, and part ways after kissing when they reach Hilltop.
The day following the walker attack, the Saviors pay a visit to Gregory. Gregory orders Jesus to hide Sasha and Maggie in a closet, which he eventually tries to use to his advantage. His plan was to turn them over, but Jesus put the girls in another closet and all that is revealed is a closet full of Gregory’s scotch stash.
When the Saviors finally leave the house, Gregory finds out the women were safely hidden in his bedroom closet. He seems to have this delusion that he actually made progress with the Saviors, and during his blustering, Maggie punches him. She declares that they’re not leaving, and that he will call her by her name. He’s also made the mistake of taking Glenn’s pocket watch, which she removes from his possession.
Jesus swears he’ll find a way to make things up to Sasha and Maggie, and Sasha tells him he can do that by finding out where Negan lives. This results in Jesus hitching a ride in one of the Saviors’ trucks, but he’s not alone. Carl has hidden himself, oddly enough, on the same truck.
Now, we all know bad things happen when Carl doesn’t stay home. We also know bad things happen when he can’t keep his mouth shut; he’s a hothead, and he’s headed right into the belly of the beast. My fear is that his stupidity will come at a price, one that Jesus and/or Daryl will have to pay.
By Tim Murr
Ten minutes is barely enough time for some films’ opening credits to run, much less properly set up the first act. Writer/director Izzy Lee deftly creates a three-act story in just minutes that feels every bit as complete and satisfying as a full-length feature. Her new film Innsmouth takes a police procedural and drops it into Lovecraftian horror. The result is truly something to behold.
The Knoxville Horror Film Fest wrapped up its eighth year with a fascinating and diverse lineup, happily anchored by the invigorating re-examination of the Phantasm franchise. Some of the movies were overly dependent on politics or allegory to make their points, but overall, the Fest was well-programmed and a lot of fun.
Service… with a smile? Negan arrives in Alexandria earlier than he was expected, with a heavily bruised Daryl in tow. He takes out a walker once the gates are opened, but things are all downhill from there. I am of the firm belief that the real reason Abraham had to die was because they didn’t want him upstaging Negan for one-liners.
If you were wondering at the end of the first episode, “But what about Daryl?” then your question will be answered with this episode, and they may not be answers you wanted. It seems that there is quite a bit of emphasis placed on the differences and similarities between Daryl and Dwight, as well as Dwight’s standing within Negan’s pecking order.
As expected, the second installment of this season was calm and, for the most part, without complication. After the first episode and its emotional wringer, it was actually rather nice to slow things down a bit and live within the illusion that bad things going on outside the walls of the Kingdom aren’t really happening.
Let me begin this by stating very clearly, this is going to be filled with spoilers. If you have not watched the season seven premiere of The Walking Dead, and you don’t want to know who got Lucille’d, turn back now. While you still can. If you haven’t seen it yet, you can do so here.
Do you ever feel like you’re about to get sick, but the actual sickness takes days or even weeks to manifest itself? Observance, a new film by Australian director Joseph Sims-Dennett, made on a microbudget and which received acclaim at Montreal’s Fantasia Festival, taps into that unsettlingly suffocating feeling of disease in a major way.
By Tim Murr
Tenebre is Italian horror master Dario Argento’s return to the genre he helped create with a style and vicious edge rarely equaled even by himself. In it, American thriller author Peter Neal (Anthony Franciosa) steps off the plane in Italy and into a mystery straight out of one of his own books, literally. A killer is using passages from his newest book, Tenebre, to commit vicious murders and apparently attempting to impress Neal by sending him clues after each murder. In classic Giallo style Neal becomes an amateur detective trying to solve the murders himself.
In his third feature, Trash Fire, Richard E. Bates taps into very visceral discomfort and revulsion in so many ways that it’s disorienting, but uniquely, he largely does it with dialogue rather that with traditional scares or gore. At the same time, Bates mixes in an undercurrent of his particular brand of black humor to ensure that you’re laughing at the most inappropriate situations.