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The Mad Death (1983) DVD box art
This Static Age’s spotlight goes to BBC’s
miniseries The Mad Death (1983) which
consists of three hour-long episodes (all of them directed by Robert Young,
written by Sean Hignett, based on a novel by Nigel Slater), and is about an
epidemic that plagues England after an infected cat gets smuggled into the
country and spreads a rabies-like disease that turns humans into crazed
maniacs. In the end it is the army against the infected animals, which is an
interesting scenario, but unfortunately most actors here don’t look like
soldiers, and most animals look too cute to be menacing. However, this is eerily
relevant and well-made, as well as haunting horror television at its best.
And now, let’s
switch our focus towards some recent series…
Wednesday - Season 1
The 1st
season of Netflix’s Wednesday (2022 –
present), ‘from the imagination of Tim Burton’ (who directed half of the
episodes) and based on the Addams Family comic strips and cultural phenomenon,
is focusing on that peculiar family’s titular daughter (played by an excellent
Jenna Ortega) who is sent by her parents (Luis Guzman and Catherine Zeta-Jones)
to a school she dislikes and where she will have to solve a murder conspiracy
that involves monsters. This is the show all the cool kids should like and is
done with affection and brilliance, not to mention gorgeous dark aesthetics,
and if that’s not enough Ortega’s dance sequence (to a tune by The Cramps, no
less) is the best in the history of the medium and was choreographed by her.
The 5th
season of The Handmaid’s Tale (2017 –
present) is about the trauma that plagues June Osborne (Elisabeth Moss) despite
the great revenge she managed to tackle during the previous season’s finale,
but with Serena (Yvonne Strahovski) still alive and back in Gilead, the
Waterfords seem to not have said their final word. Deep, thoughtful, artistic,
and well-made, this show is one of these rare occasions when the fact that it
raises more philosophical questions than it can answer, works in its favor.
Irma Vep - Season 1
The Irma Vep (2022) mini-series is about
American actress Mira Harberg (Alicia Vikander) who goes to France in order to
work with an acclaimed director on the remake of the legendary Les Vampires serial. Suffering from a
lack of any sense of real plot of dramatic progress, and focusing on the daily
lives of a cast and crew of disillusioned artists, this is more about tone and
aesthetics rather than any kind of storytelling, and as such it outstays its
welcome rather quickly even at a mere 8 episodes long. However, all the main
actresses are gorgeous beyond belief in a European way that they make the end
result bearable. The title cards’ song is completely out of place and
ridiculous.
Based upon
Stephen King’s same-titled classic horror novel, the limited series The Stand (2020) is about a plague that
has wiped off almost the entire population of our planet and is focusing on a
grand battle between survivors. Amazingly current and sadly relevant, this only
loses points for involving the supernatural too much, whereas a straight
approach grounded more in realism would be more sufficient. What’s also
unfortunate is the lack of any sense of real threat, a bad sign when you’re
watching a supposed thriller. It is not without its merits though, as the set
design is a work of art the rocking soundtrack is well-chosen and well-placed,
and even Amber Heard and Whoopi Goldberg are providing decent performances.
Directed by
Bryan Singer, the sole episode of Mockingbird
Lane (2012) brings back the beloved ‘Munsters’ family for a new generation,
but it does so unremarkably as it is desperate to include gore gags that seem
out place and is rounded by an inappropriate cast. The CGI are primitive as
well, and overall I don’t understand why many people like this TV special.
Loki - Season 1
The 1st
season of Marvel’s Loki (2021 –
present) finds the titular god of mischief (the handsome Tom Hiddleston)
without his powers and going through a much more human story, full of emotions.
A great show, and at a mere 6 episodes long it’s a joy to watch.
The 1st
season of Marvel’s I am Groot (2022 –
present) consists of five episodes featuring stunning animation and fresh
comedy delivered in short sketches. They are entertaining, but in at least a
couple of them Groot (Vin Diesel) comes across as an asshole.
The sole season
of Marvel’s WandaVision (2021) is a
fresh take on the superhero genre as it takes the classic sitcom approach of
filmmaking and it comes across as nostalgic and warming. The show is about the
suburban life of superheroes Wanda Maximoff (Elizabeth Olsen) and Vision (Paul
Bettany), but never mind the plot, you should focus on the charming aesthetics
instead.
Set in the 1950s
Kansas City, Missouri it is a scenario featuring African-American gangsters
against Italian-American gangsters in the 4th season of Fargo (2014 – present), offering snow
and crime in equal measures, as well as wide spaces and Western-like aesthetics
and shootouts. Needless to say, it comes highly recommended.
Gomorrah - Season 5
The 5th,
final, and best season of Gomorrah
(2014 – 2021) finds Don Genaro (Salvatore Esposito) lower in the annals of
Neapolitan organized crime, following a series of events that made him a wanted
man both by the authorities and competitive gangs. Will he rise as a phoenix in
the series finale? His biggest obstacle will be the return of ‘The Immortal’,
or Ciro di Marzio (Marco D’Amore, who also directed several episodes) who will
form his own clan and swears to revenge his once-brother. Possibly the best
series to ever come out of Italy, this is well-made, authentic, and enjoyable
for fans of the gangster genre.
And now, please
allow me a word on some recent mainstream film releases…
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Glass Onion: A Knives Out...
Written and
directed by Rian Johnson, Netflix’s Glass
Onion: A Knives Out Mystery (2022) was shot in Greece on a gigantic budget
of $40 million and it is such a lavish production that manages to look even
bigger on screen (the set and costume design are stunning). Benefiting from a
stunning cast that includes Daniel Craig, Edward Norton, Kate Hudson, Dave
Bautista, and Ethan Hawke, this murder mystery has plot twists that you’ll
never see coming, and just enough comedic elements to sweeten the proceedings.
When it comes to ‘whodunit’ films we prefer gialli in these shores, but if you’re
looking for something in the Hollywood vein this will do the trick.
Based on the
book by Louis Bayard, adapted by Scott Cooper (who also directed), Netflix’s The Pale Blue Eye (2022) is a murder
mystery that Augustus Landor (a mustached and bearded Christian Bale) attempts
to solve, and later on claims the help of Cadet Edgar Allan Poe (Harry
Melling). Slow burn and tonally dark – both elements work in the film’s favor –
this also benefits from a great cast (Toby Jones and Gillian Anderson are also
on board), but is let down by its mildness (the story definitely allowed and
asked for more grittiness and an edgier approach).
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Lady Chatterley's Lover (2022) frame
Netflix’s Lady Chatterley’s Lover (2022) directed
by Laure de Clermont-Tonnerre, is about Connie (the gorgeous Emma Corrin) and
the relationship she forms with handyman Oliver (Jack O’Connell) upon feeling
neglected by her terrible husband (Matthew Duckett). Based on the classic and
then-controversial book D.H. Lawrence, this adaptation is obviously not aimed
for the target group the original material or the former cinematic adaptations
were, but takes the ‘housewife’ approach, as the end result is focusing more on
the love story and less on the strong eroticism, or its commentary on
classicism. Still it is a very enjoyable film and rather beautifully shot, as
the exteriors and the love scenes are really well-done.
Guillermo del Toro’s Pinocchio (2022), now streaming on Netflix, tells the classic story of carpenter
Geppetto (David Bradley) who upon losing his only son, crafts a the titular
wooden child (Gregory Mann) that upon coming to life, helps him with grief and
the overall Italian 1930s fascism surroundings. With expertly crafted
stop-motion animation and voiced by a great cast (other than the aforementioned
players we also get Ewan McGregor, Ron Perlman, John Torturro, Cate Blanchett,
Christoph Waltz, and Tilda Swinton), this may be a very sad tale for younger
audiences (talcling strong subjects such as loneliness and loss), but it is a
work of art nonetheless.
Not to be
confused with John Carl Buechler’s 1986 classic – how could it be, anyway? –
Netflix’s big budget extravaganza Troll
(2022), directed by Roar Uthaug (who also wrote the story, which was turned
into screenplay by Espen Aukan) is about the titular monster that was recently
and accidentally (not to mention, irresponsibly) awaken in the Dovre mountain,
and is now on a destroying rampage that is about to have its crescendo in the
city of Oslo. This Norwegian film is as simplistic as these monster movie
blockbusters can get, but it is so well-done, engaging, and entertaining, that
you’ll forgive its flaws. Surprisingly for such a thing, the women in the film
are really strong, and on another plus note we also get a Ramones reference.
Written and
directed by Rob Zombie, The Munsters
(2022) may be aesthetically perfect and rich when it comes to popular horror
references, but it lacks drive and storytelling as the plot – about Lily (Sheri
Moon Zombie) falling in love with rock-star Herman (Jeff Daniel Phillips), much
to her father’s (Daniel Roebuck) objection – is much too think to keep you
interested. Rob Zombie has proven he’s capable of helming some pretty important
films within the horror genre, but he’s also responsible for some serious duds,
and this falls in the latter category.
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Black Panther: Wakanda Forever (2022)
Marvel’s Black Panther: Wakanda Forever (2022),
directed by Ryan Coogler (who also penned the screenplay, with Joe Robert
Cole), finds the people of Wakanda mourning the death of their king, and their
desperate search for a replacement upon the threat of an invading enemy army.
Featuring stunning production design (the costumes and sets are a breathtaking
combination of African tradition and technological evolution), but suffering
from superhero clichés (predictable CGI and battles, as well as terrible soundtrack
choices), this is still one the studio’s better works from the last few years
and therefore comes recommended.
And also, as
unlikely it might be for me, I read some fiction books: Franz Kafka’s Die Verwandlung (1915), Margaret
Atwood’s The Handmaid’s Tale (1985), John
Grisham’s The Appeal (2008), Paul Garrison’s Robert Ludlum’s The Janson
Command (2012), Alberto Garlini’s La
Legge dell’odio (2012), Fernanda Melchor’s Temporada de Huracanes (2017), Margaret Atwood’s The Testaments (2019), Quentin
Tarantino’s Once Upon a Time in Hollywood
(2021), and Ashley Flowers’ All Good
People Here (2022).
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