Johnny Goodhero is tired. He’s been surviving for months since the cliché virus struck. His only friends a baseball bat and a 9mm pistol. One last plan, to get across a Zombie infested battlefield without being eaten, to the temporary safety of a nuclear bunker.
Johnny tries not to gag as he covers himself in rent zombie guts. The squishy noises sound like the the horrific noises that come from your parents’ bedroom at three in the morning when all you want is a glass of chocolate milk. A terrible set of bling begins to form, liver earrings, colon necklaces, a visceral survival suit.
He crawls. So slowly, the Somme of moaning and scratching all fogged around. An invisible orchestra takes up a beat, industrial timekeeping keeping pace with the undead hearts of his costume. He reaches forward to a key lying forgotten on the ground. Salvation named Chubb. Touching one side, it’s so close, an undead arm reaches for the other. Crescendos. Slow motions. A flesh-stripped face comes into view. Johnny raises his piece. Recognition and hunger leap at clean food. Trigger pressed. An explosion.
“Wake up. It’s already twelve and we have things to do!”
I really shouldn’t read the Walking Dead last thing at night.
On paper, it sounds like a complete farce. A Finnish comedy-horror about miners unearthing the real Father Christmas, who isn’t as jolly as the Coca-Cola corporation would have us believe. Instead of sneaking into people’s homes and exchange presents for gingerbread, Santa delivers spanked bottoms and boiled children. It’s then up to a bunch of reindeer herders and the only nice (if rather odd-looking) child to save the day and rescue the naughty kids.
It might just be the foreign language making it feel less of a spoof, but the movie itself has turned out to be one of the best Christmas films in years. A great mixture of creeping suspense, some genuinely scary moments, and a great heart that Disney hasn’t had since the Fifties.
I’d be interested to hear what a Finnish person thought of it; the audience at the Cambridge Picturehouse seemed to be in tears of laughter at random scenes, so much so that I was seconds away from standing up and brandishing my laminated copy of Wittertainment’s Code of Conduct. Either they were high or Finnish, in which case I’m missing out on some subtleties of their culture.
Don’t let the threat of sniggering Scandewigians put you off, however. Go and see this movie before Santa puts you on the naughty list.
You definitely don’t want to be on the naughty list.
The Health and Safety Executive declined to comment on the issue, stating that it was a problem for the Swedish Embassy. The public is strongly advised to avoid the Oxford Circus area until the matter has been cleared up.
I should have known better. I didn’t listen to Dr. Kermode. Rotten Tomatoes gave it a rating of 10%. But I knew better.
Skyline is the worst movie to come out this year. It’s a confused mess of a movie that makes Sharktopus look like Citizen Kane and manages to make root canal surgery feel like a viable alternative to a night out in the cinema.
Just like 2008’s big monster movie, Cloverfield, it starts off with a party designed to help the audience get to knows and care for the main characters, but all that seemed to do was make sure we wanted the aliens to get the job over with sooner. Really, we’re supposed to care that a motley collection of self-obsessed hipsters are about to have their brains sucked out by a betentacled vagina?
The acting was more wooden than the Billy aisle of an Ikea store, the sound effects so loud and overwrought that even Michael Bay would think twice, and it was a relief to see the credits. How something so bad ever got a cinema release is a mystery fit for Mulder and Scully.
It’s Douchebags vs. Aliens and I’m on the side of the betentacled vaginas.
Wonderfully natural performances, as can only be expected from a group of actors who have grown up together making these movies and a sense of wistfulness as they come close to the end of this part of their careers. Michael Gambon, as always, played Dumbledore so well that it’s a struggle to see how the late Richard Harris could have done the same.
While the fans are up in arms about missing scenes and changes made, the emotional impact of the ending would have been lessened too much if the book was followed too faithfully. With David Yeats set to direct the next two, the series can only end on a high note.