Latest news with #TheWalkingDead
Yahoo
4 hours ago
- Entertainment
- Yahoo
Were Arachnophobes Bugged by Criminal Minds? Is Resident Alien's Joseph Gone for Good? Did Steamy Adults Kiss Launch ‘Ship? More Qs!
We've got questions, and you've (maybe) got answers! With another week of TV gone by, we're lobbing queries left and right about Criminal Minds: Evolution, Adults, Nine Perfect Strangers, Destination X and more! 1 | On last week's , was Joseph's gory, torn-up face (and missing arm!) more disgusting or hysterical? And do you think this will be the last time we ever see Enver Gjokaj? More from TVLine Did John Wick Flick Do TWD Vet Dirty? Did The Chi Devastate? Will Glee 4-Peat at Tonys? Who Has Never Heard of Sabrina Carpenter?! More TV Qs! Is Doctor Who Reunion Inevitable? Did Cleaning Lady Kiss Leave You Cold? How Would SNL Have Handled Trump/ Musk Break-Up? More TV Qs! Glad The Last of Us Spared Dog? Did Rehearsal Give You High Anxiety? Did Survivor 50 Need Fan Input? Vexing Organized Crime Absences? More Qs! 2 | How did The Walking Dead: Dead City's Negan manage to haul a ventilator out of Bellevue and back to the church? 3 | Bravo fans, were you surprised to see that the only match that managed to stick was Luann and James? And would you watch another season of Housewives selecting from a bevy of men in a tropical locale? 4 | Watching The Last Supper get underway on , was anyone else distracted by the fact that the disciples' candles were (and remained) the exact same height and clearly weren't melting? 5 | The Pitt's Dr. Shen appears to 'run on Dunkin',' so we have to ask: What do you think his go-to order is? Is it just a classic iced coffee with cream and sugar? Or do we think he's more of a frozen coffee or iced latte-kinda guy? 6 | On Fox's , should shamelessly manipulative Kethryn's on-screen ID be changed from 'Tech Manager' to 'People Manager'? Also, could the gameplay on this show possibly be any more simplistic? 1) Compete in gross-out challenge to become Snake! 2) Scheme! 3) Vote someone out! 7 | Were you surprised by how easily 's Shayne chose his bro Biggy over his love interest Ally in that vase-shattering challenge? And was that big elimination twist a little underwhelming considering how easily Tai believed Biggy's lie right off the bat? 8 | Should the Ted Lasso writers be compensated every time the new Goldfish crackers commercial — featuring another familiar face from Saturday Night Live, Please Don't Destroy's Ben Marshall — airs on television? 9 | Are you officially 'shipping Adults' Anton and Paul Baker after that steamy kiss in the season finale? And how badly do we need to see a Season 2 to find out how this whole mess turns out? 10 | No shade to ' Nancy, but did you have a certain sense about Hamish's sexual preferences from literally the first moment he was on screen at the pool? 11 | Although it made complete sense, weren't you still a little disappointed with how little we got to see of Guy in The Buccaneers Season 2 premiere? And didn't Nelle and Nan look more like sisters than mother and daughter? 12 | Be honest, Nine Perfect Strangers viewers: How many of you were already suspecting that Helena twist might be a thing? 13 | On , were you definitely expecting something terrible to happen when Carrie drove off on an ATV unsupervised, and then shocked when she somehow arrived unscathed? And was Harry's elderly father surprisingly cool with it when Lily's dancer boyfriend announced he's poly? 14 | What was with Rebecca's sudden glam-up this week on Criminal Minds: Evolution? What was the point of giving Voit a new, better lawyer… if the guy didn't get to be? Also, how are the arachnophobics out there among you faring? Hit the comments with your answers and any TV Qs of your own! Best of TVLine 20+ Age-Defying Parent-Child Castings From Blue Bloods, ER, Ginny & Georgia, Golden Girls, Supernatural and More Young Sheldon Easter Eggs: Every Nod to The Big Bang Theory (and Every Future Reveal) Across 7 Seasons Weirdest TV Crossovers: Always Sunny Meets Abbott, Family Guy vs. Simpsons, Nine-Nine Recruits New Girl and More
Yahoo
10 hours ago
- Entertainment
- Yahoo
Review: '28 Years Later' is a triumphant return, one of the scariest films of the year
"I need a shower and a lot of CBD." Putting it lightly, this was my instant message reaction to my colleagues leaving the cinema after 28 Years Later. Fingernails bitten to hell, I was a film critic shooketh to the core after seeing director Danny Boyle and writer Alex Garland reunite almost 28 years following their horrifying, groundbreaking, genre-disrupting 2002 film 28 Days Later. Since this series launched its grisly, running zombies, wildly popular series like The Walking Dead and The Last of Us, and celebrated films like Train to Busan, satisfyingly filled the undead landscape onscreen. But Garland and Boyle bring fresh scares and existential dread, reminding audiences of the legacy their 2002 hit wrought. SEE ALSO: Should you watch '28 Days Later' and '28 Weeks Later' before '28 Years Later'? One of the most unrelenting and scariest films of the year, 28 Years Later deserves the largest screen and sound system you can find — and serious guts. Almost three decades later, we're so back(bone). Jamie (Aaron Taylor-Johnson) and Spike (Alfie Williams) find their mettle tested. Credit: Sony Pictures Since the Rage Virus-infected doomed the United Kingdom in 28 Days Later, the country has been left to fester in its own pétri dish of irate contagion for about 30 years. Survivors are left to fend for themselves, with no international aid in sight. In fact, European quarantine boats patrol the surrounding seas making sure Britain knows where its own damned perimeter is (the word "Brexit" does not come up in this film, but come on…). In this doomscape, a small community has fortified an island off the coast of England, protected from the undead by the tides, sturdy walls, and a wealth of traditional grassroots design (thanks to production and costume designers Carson McColl and Gareth Pugh). Key resources for "Holy Island" lie on the mainland, a place deemed a rite of passage for younger residents to visit, including 12-year-old Spike (a solemn, raw performance from newcomer Alfie Williams). There's just one rule: If you leave and don't return, no one is allowed to venture across the causeway and rescue you. While his mother, Isla (an exceptional Jodie Comer), lies undiagnosed with illness and enduring her own private hell, Spike and his father, Jamie (an intense and sweary Aaron Taylor-Johnson) venture to the mainland for some father-son bonding and find nothing awry at all. Everything's peachy! Yeah, this is a 28 Days film, you know it's not. On the mainland, Spike and Jamie find their mettle tested in myriad dreadful ways. As expected, these rolling English hills are flush with infected, bloodthirsty humans, some of whom have unexpectedly evolved into new variations including the petrifying "Alphas". But there's smoke on the horizon, with the mystery of this ever-burning fire tempting Spike's curiosity further from the safety of his island home. You'll want to be back on that island pretty damn quick. Credit: Sony Pictures As a zombie film following in the footsteps of one of the most celebrated, brutal, and barbarous horror films of the 2000s, 28 Years Later holds nothing back on the violence scale, tween protagonist be damned! Boyle and Garland pull more than one skull-attached spine out of the hat throughout the film, throwing explosive blood spatters across television sets playing the Teletubbies, and teasing a mountain of skulls looming ahead, each moment a visceral strike for the viewer. This dizzying onscreen violence is bolstered by Boyle's signature brand of disruptive filmmaking. In one of the most striking sequences of the film, Boyle and editor Jon Harris take what might be a simple scene of Spike's first moments on the mainland and turn it into a frenetic, splintered montage. Intercut with father and son marching across an abandoned beach is a barrage of archival footage of child soldiers, clips from Laurence Olivier's 1944 Shakespeare adaptation Henry V (a movie "conceived as a wartime morale-booster" for British audiences during World War II), and the urgent, desperate voiceover of British writer Rudyard Kipling's 1903 war poem "Boots," which was also used in the film's riveting trailer. SEE ALSO: 20 of the best British horror films It's a distressing, abrasive, political sequence promising horrifying violence, shattered innocence, and national collapse. Even if you can't place the references in the footage you can feel the dread. At the film's start, Boyle has you both unsure and knowing full well what's to come, and it ain't good for Spike and his family. Uh, hey... Credit: Sony Pictures Doyle reteams with cinematographer Anthony Dod Mantle, who employed a famously rogue use of digital camcorders for both extreme close-ups and lonely wide shots in 28 Days Later. His new innovation is a mix of cameras that include a flotilla of 20 adapted iPhone 15s to create a bullet-time effect on some moments of pivotal violence, recalling the mind-blowing effect in The Matrix. Using these handheld devices all rigged up, Mantle deploys both distorted and awe-inspiring camera angles using Boyle's beloved sprawling 2.76:1 widescreen aspect ratio. Vile close-ups of the infected slurping away on various fleshy business deliver all the juicy disgust of Dennis Quaid eviscerating prawns in The Substance. However, Mantle also offers magnificent and terrifying wide shots of our protagonists roaming about the English countryside, akin to those incredible shots of Cillian Murphy wandering through an empty London in the first film. Such a wide frame urges us to recognize how exposed the survivor is in this feral terrain, the constant threat from a grisly death could be behind any tree or over the horizon — or, most terrifyingly, on the horizon. And supporting such fear is the superb sound design from Young Fathers. It's honestly hard to tell where the diegetic sound starts and ends. Credit: Sony Pictures Besides the stalking Alphas, 28 Years Later has another villain in Young Fathers. The Scottish hip-hop trio does not appear in the film, but they bring their signature experimental style to a hypnotic and merciless score that functions as an omnipresent threat. Their soundtrack simultaneously hums like a revving vehicle, flickers like a crow pecking at remains, shrieks like a human pursued by some grotesquerie, and echoes like an unidentified beast caterwauling into the night. With such sinister sounds, the verdant peace of the English countryside is pulverised, and also by the guttural screams of the livid undead. It's honestly hard to tell where the diegetic sound starts and ends, a state that becomes perilous when it comes to the film's outrageous bombardment of effective jump scares. It's a deeply affecting experience, the score and foley functioning as symbiotic beings, with one often indistinguishable from the other and forming one living, breathing entity. Thudding footsteps run parallel to booming drums, screeches and squawks blend with plucked strings, amalgamating into one out-of-body wall of sound that's impossible to escape. It all feels doomed, like the end is extremely fucking nigh — and yet Boyle finds a path of hope in the most unexpected place. In a landscape heaving with zombie apocalypse media from The Walking Dead to The Last of Us, 28 Years Later manages to declare its footing as an original monster. Magnificently shot, ruthlessly edited, and outrageously scored, it's a rambunctious, grisly, human tale of survival. Boyle and Garland, with their impeccably talented team and a magnificent cast — led by the young and wondrous Williams — manage to both connect their original creation with the present and forge a terrifying new landscape, one that will stress you out and make a meal of your own fingernails. 28 Years Later his cinemas June 20.
Irish Independent
20 hours ago
- Entertainment
- Irish Independent
Glamour of Hollywood greats on show at Wicklow exhibit
The exhibition was a unique showcase of work for the Bray venue, which appealed in particular to fans of the silver screen, featuring pencil portraits from the golden age of cinema – Lauren Bacall, Humphrey Bogart, Gary Cooper, Joan Crawford and Judy Garland. Lots of original art was on display, from vintage movie memorabilia and small dioramas. Shane McCormack is a graduate of Bray Institute of Further Education and IADT, and as a freelance illustrator specialising in portraits from film and TV, has worked on licensed subjects like Star Wars, Star Trek, The Walking Dead and The Hobbit. His short film, The Hotel, which was screened as part of Culture Night last September, is a fascinating piece of social history focusing on the former Bray Head Hotel – a favourite of the stars when filming at Ardmore, and where scenes from Frank, Breakfast on Pluto and The Commitments were also shot. In the notes for the exhibition, it presents an artist 'fascinated by how the photograph or film frame captures a fleeting moment, one that is forever frozen in time yet continues to evolve in its significance'. "What remains poignant is how these images continue to resonate today as artefacts of both escapism and aspiration, as well as reminders of the complexities behind the facade. The power of image in vintage Hollywood lies not just in its glamour, but in its ability to shape memory and influence culture long after the original light has faded. Through this exploration, Shane seeks to uncover the layers of artifice and authenticity that intersect in the history of cinema and visual culture.' You can find out more about Shane on his website, – if you know your movies, you should know the inspirational character behind that one. Just don't confuse it with Harry Lyme. The exhibition closes at Signal Arts Centre in Bray on Sunday, June 22.
Sydney Morning Herald
a day ago
- Entertainment
- Sydney Morning Herald
28 Years Later review: Zombie franchise pushes boldly into new terrain
28 Years Later ★★★★ MA 15+, 115 mins It is 23 years since writer Alex Garland, director Danny Boyle and producer Andrew Macdonald unleashed the Rage virus upon the world and redefined the zombie genre in 28 Days Later (despite insisting their film wasn't a zombie flick at all). And in the first of a projected new trilogy, they prove there's plenty of life in them old bones yet. The filmmakers claim no prior knowledge of the franchise is necessary (Garland and Boyle were only executive producers on the 2007 sequel 28 Weeks Later) in order to enter the latest incarnation of the hellscape of England after the outbreak. And while it undoubtedly adds a little something to have seen the earlier films, they are largely right in that. As The Walking Dead made perfectly clear, you don't need an origin story when the world you've created is as fully fleshed out as this. Even if the flesh is in a horrible state of decay. We start here on the island of Lindisfarne, off the coast of north-east England. That gives our leads – Aaron Taylor-Johnson as Jamie, Jodie Comer as Isla, and Alfie Williams as their son, Spike – the chance to do some cracking Geordie accents, something we just do not hear enough of on screen, if you ask me. Isla is bed-bound, racked by a mystery illness that at first glance could be mistaken for early-onset Rage. Jamie is a hunter, a leader of the gated and so-far secure island community that seems to have clung to a version of civilisation fashioned some time between 1830 and 1940. He's taking Spike across the causeway – accessible only at low tide – that connects the island to the mainland, to hunt for slow-moving infected, and to dodge the fast-moving variety. It's a coming-of-age ritual, with a rather higher degree of risk than a bar mitzvah or a blue-light disco. Of course, things unravel pretty quickly, as they encounter a horde led by an oversized, more intelligent leader, known as an Alpha. Boyle is masterful at creating an almost unbearable sense of tension in these scenes. His use of jump-cuts, of varied focal lengths and exposures, above all his use of music and sound design (think Trainspotting, times 10) all combine to create and sustain a state of high anxiety in the audience. The mission is a turning point for Spike, but not quite in the way his old man had anticipated. His experiences, and the aftermath of them, open his eyes to the way myth is used to reinforce a particular version of the world. It causes a rift between father and son, and sets in train the second part of the film, in which Spike leads his mother back to the mainland in search of a doctor who is rumoured to be there, and who might provide a diagnosis and a cure.
The Age
a day ago
- Entertainment
- The Age
28 Years Later review: Zombie franchise pushes boldly into new terrain
28 Years Later ★★★★ MA 15+, 115 mins It is 23 years since writer Alex Garland, director Danny Boyle and producer Andrew Macdonald unleashed the Rage virus upon the world and redefined the zombie genre in 28 Days Later (despite insisting their film wasn't a zombie flick at all). And in the first of a projected new trilogy, they prove there's plenty of life in them old bones yet. The filmmakers claim no prior knowledge of the franchise is necessary (Garland and Boyle were only executive producers on the 2007 sequel 28 Weeks Later) in order to enter the latest incarnation of the hellscape of England after the outbreak. And while it undoubtedly adds a little something to have seen the earlier films, they are largely right in that. As The Walking Dead made perfectly clear, you don't need an origin story when the world you've created is as fully fleshed out as this. Even if the flesh is in a horrible state of decay. We start here on the island of Lindisfarne, off the coast of north-east England. That gives our leads – Aaron Taylor-Johnson as Jamie, Jodie Comer as Isla, and Alfie Williams as their son, Spike – the chance to do some cracking Geordie accents, something we just do not hear enough of on screen, if you ask me. Isla is bed-bound, racked by a mystery illness that at first glance could be mistaken for early-onset Rage. Jamie is a hunter, a leader of the gated and so-far secure island community that seems to have clung to a version of civilisation fashioned some time between 1830 and 1940. He's taking Spike across the causeway – accessible only at low tide – that connects the island to the mainland, to hunt for slow-moving infected, and to dodge the fast-moving variety. It's a coming-of-age ritual, with a rather higher degree of risk than a bar mitzvah or a blue-light disco. Of course, things unravel pretty quickly, as they encounter a horde led by an oversized, more intelligent leader, known as an Alpha. Boyle is masterful at creating an almost unbearable sense of tension in these scenes. His use of jump-cuts, of varied focal lengths and exposures, above all his use of music and sound design (think Trainspotting, times 10) all combine to create and sustain a state of high anxiety in the audience. The mission is a turning point for Spike, but not quite in the way his old man had anticipated. His experiences, and the aftermath of them, open his eyes to the way myth is used to reinforce a particular version of the world. It causes a rift between father and son, and sets in train the second part of the film, in which Spike leads his mother back to the mainland in search of a doctor who is rumoured to be there, and who might provide a diagnosis and a cure.
