It's a "historical," account of what happened during the war. The book is told from the point of view AFTER the war. It's true, World War Z is nothing like the book. Much like my response to him at the theatre, I hope he receives silence in return. You also get good scary parts with dark hallways and stalking dangers.Īt the end of World War Z, just as the credits began rolling, a gentleman, scratch that, an idiot spoke up from the back of the theatre exclaiming, "What? That sucked! The book was nothing like that! Booo!" I'm sure he scurried away back home, logged online, and began tweeting, posting, and blogging, furthering his rant. It has a good tension filled horror aspect. It's actually easy to follow and really compelling. Brad Pitt travels all around the world following leads. The zombie mystery is investigated in a Bond movie fashion. Although unlike other post-apocalyptic movie, there isn't the standard eerie empty city scenes. There's no need to misunderstand what this movie is. The action starts right away within 10min. My only main complaint is the PG13 rating which imposes the cartoon zombie action rather than a gore bloody fare. This Brad Pitt showcase has many good points. They manage to escape and Gerry is put to work on finding the origins of the outbreak. Former UN investigator Gerry Lane (Brad Pitt) is caught up with his wife Karin (Mireille Enos) and family. There is some sort of virus and bitten people are turned into violent creatures. In 2013, the Archie editorial crew took the definition of on-brand and fed it to a ravenous horde of flesh-eating shamblers.The world descends into the zombie apocalypse. Archie Chief Creative Director and current Riverdale showrunner Roberto Aguirre-Sacasa matured Archie, Veronica, Jughead, Betty and the other varsity-jacket icons with a teen rating and a buffet of human organs in this excellent series. Though releases are few and far between, Afterlife hits a note of drama-heavy dread that’s not afraid to veer and twist among an electric ensemble, each character hiding a cemetery of skeletons in their closet. But this churning requiem for youth wouldn’t read so beautifully if not for artist Francesco Francavilla, channeling the dark side of Riverdale in reams of inky shadow. Watching lovable goofball Jughead transform from a burger-devouring lunkhead to a people-devouring lunkhead may be hard to stomach for longtime readers, but it does make for a delicious horror comic.Įach panel could be its own Giallo film poster from the ‘70s, the mood coloring echoing director Dario Argento’s hyper-stylized gel lighting. Like fellow precision artists Geof Darrow and the late, great Bernie Wrightson, James Stokoe doesn’t stop drawing until nearly every millimeter of canvas is shaded, hatched and stylized. As seen in Orc Stain and his Godzilla runs, a microscope is required to appreciate Stokoe’s images in their hyper-articulate, chiseled depth. In Aliens: Dead Orbit, the cartoonist uses his talent to shape a cosmic graveyard of space junk, dwarfing in scope and mind-numbingly vast. Zoom in tightly enough, and one lone space engineer sits stranded in the wasteland. ![]() Though this miniseries utilizes one of the most iconic horror franchises in film history, it builds on its foundation by imposing a sheer sense of scale and futility. Yes, protagonist Wascylewski matches wits with the Xenomorphs and facehuggers, but Stokoe’s art begs what’s the point in a celestial vacuum of hope, light years from any aid. Aliens: Dead Orbit is a Venn diagram of awe, depression and the ghost of salvation, all splayed on 6.63” x 10.24” paper that feels as big as the universe at its most indifferent. Sean EdgarĪs scribe Donny Cates clarified in his interview with Paste, he doesn’t “find the Antichrist compelling whatsoever,” but is completely devoted to exploring “the girl who gives birth to it, and the impact it has on her life.” True to his word, Babyteeth took a progressive twist on the template laid by Rosemary’s Baby, The Omen and House of the Devil. Sex has consistently equated to doom in the horror template, striking a strong argument that the genre is, whether intentional or not, Christian propaganda.
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