If you fall under the tent of rabid horror-consuming zombies, we have a new website written just for you called Descent Into Heck, because Hell was taken, and Heck is kind of funny, unlike Shaun of the Dead. Check it out. The new blog. Not this “romantic comedy, with zombies”.
I suppose I should offer a brief preamble to this piece, as its thesis will no doubt prove polarizing or sensational. Hear me out. Shaun of the Dead is a comedy movie featuring zombies, not a zombie movie featuring comedy, and so it should be criticized on its merits as a comedy. Edgar Wright imbues his film with a light and cheeky tone that disbars it from being viewed as a seriously frightening or dramatic horror film. Yes, there’s a fair amount of zombie culling and gory imagery that’s to be expected of any zombie movie worth its salt, but as satisfying as the makeup effects and exaggerated violence are, they don’t make or break the movie in the same way that they define the horror classics of George A. Romero or Sam Raimi. What distinguished Shaun of the Dead from its contemporaries was an overtly humorous slant on the undead apocalypse, and so I feel it’s most fitting to focus on this aspect rather than on the makeup, special effects, or cinematography, all of which are fine but don’t make Shaun of the Dead what it is.
Here’s my argument: Shaun of the Dead is the Boyhood! of horror comedies in that everybody pretends to like it but no one really does. It’s not dreadfully offensive to your intelligence and it has its fleeting moments of inspiration, but the film as a whole is so dull that it’s inconceivable why anybody who’s not a horror addict or a critic would sit through it. The first time my roommate and I tried watching it, we made it about fifteen minutes in before I started hearing him passing gentle z’s from the couch. I myself was technically awake but so detached from the film that I hadn’t mentally registered anything that happened, in the same manner that I often find myself “reading” a book, hitting the bottom of a page, and abruptly realizing I didn’t process any of the words above. Granted it was after midnight and we’d just finished watching another, much more stimulating horror satire, but it’s undeniable that Shaun of the Dead obliterated any resolve we had to carry on with our days.
* Zombies shamble and bob their heads to the beat of the opening track.* Ed and Shaun’s second housemate comes home and mentions being bitten on the way before demanding that they turn off their obnoxious electronic music. Ed says, “Next time I see him he’s dead.”
* Shaun tries to look cool by jumping over a fence that collapses underneath his weight.* Ed greets Shaun and his friends by saying, “What’s up, niggas!” It’s funny because Ed is a douchebag and Nick Frost’s delivery is perfect.
* Shaun and his friends beat up a bunch of zombies and flick the lights on and off in sync with Queen’s Don’t Stop Me Now. This is really the only part worth watching.
The cover of the Caché DVD advertises it as a Hitchcockian thriller, “only creepier”, but to the best of my knowledge Alfred Hitchcock never capped his movie off by calling the largest segment of his viewers unrepentant accomplices in the self-destruction of underprivileged people who do not look like them. This may be the most dishonest and insulting film I’ve ever made the mistake of giving my attention and time. The first hour sets it up as a drama about an unknown stalker terrorizing an upper-class family in France, sending them videotapes of their apartment exterior as well as creepy, childlike illustrations of stick figures with bloodied features, including a decapitated chicken. We learn that the stalker was briefly the protagonist’s adopted brother when they were children, before the wealthy only child falsely accused the Arab orphan of purposefully intimidating him and got him sent away to an orphanage that would doom him to an inferior education and consequential life of poverty.
The Megyn Kelly Movie – The Good Parts VersionRated PG-13 for sexual references and blood coming out of her wherever. Yes, it’s long, but we will never apologize for doing “good journalism”.