The Last Buck Hunt (2014): Bucking Expectations

Led by an incompetent celebrity hunter, the crew of an outdoors television show goes deep into the woods in search of a legendary killer buck. What their search leads them to, however, may be more than any one of them had ever bargained for.

You couldn’t throw a rock without hitting an outdoors television show. Whether it be fishing, buck hunting or some form of survival, cable television is filled to the brim with shows dedicated to the outdoors. Heck, there are even a few television networks that are solely dedicated to such programing, and I am confident that they pull in a pretty strong viewership, too. Where we have seen a number of films dedicated to spoofing reality TV, mostly in the form of game/survival shows, The Last Buck Hunt has the distinct pleasure of being the only (that I am aware of) film that parodies a hunting show.

The television program in question, "Who gives a Buck?", is an extremely popular deer hunting show hosted by the great Kenny Wayne (Zach Gold). Because you can’t always believe what you see on TV, Kenny’s reputation as a great outdoorsman is not nearly what it appears to be on television. In fact, Kenny is unfathomably inept and constantly has to rely on his father – who is a legitimate, award-winning and well-respected outdoorsman – to bail him out of embarrassing situations. Worse yet, Kenny’s lack of ability as a hunter is overshadowed by his incredible arrogance, which likely stems from his deep down knowledge that he is completely useless.

Kenny is followed by a small television crew deep into the woods, where they are shooting a special episode focused on Kenny searching for, and hopefully killing, a dangerous mythological buck. The crew consists of a cameraman named Steve (Cathan Bordyn), a sound girl named Alex (Briana Chicha) and a tracking expert named Remmy (Scott C. Brown), which is, of course, short for Remington. Both Steve and Alex are well aware of what a maladroit Kenny is, but the gig pays well enough to deal with his inability to function as a competent human being. However, when their outdoor adventure takes a deadly turn, the crew must decide what is most important to them: their well-being or cementing their fame by capturing the infamous buck.

Directed by Becky and Nicholas Sayers, The Last Buck Hunt is a follow up to their 2010 micro-budget horror film, Break, which I enjoyed back when I reviewed it. In comparison to Break, what’s immediately notable about The Last Buck Hunt is simply how much Becky and Nick Sayers have grown as filmmakers after only one film. I would attribute a larger budget to having a slight impact on this improvement, but the real growth clearly comes from the filmmakers themselves. Everything from the cinematography, editing, sound, script, and dialogue is impressive, and undoubtedly light years away from what was done only three or four years ago with Break.

Driven by solid performances from the small but talented cast, The Last Buck Hunt is best described as a horror-comedy, but it’s the humor that best defines the film, and undeniably the biggest reason why it works so well. The jokes are funny, there are some good sight gags strewn throughout and the script, which was penned by Becky Sayers, is quite witty. Rarely, if ever, does a joke fall flat, which is more than can be said about 90% of theatrically released comedies.

As far as the horror elements go, you won't find much in terms of “terror” in The Last Buck Hunt until the final act. Even then, however, it's the humor and complete insanity of the situation that drives the finale, not horror, and that is certainly not a mark against the film in any way whatsoever. The Sayers stick with a fairly consistent tone from the film’s start and right up until its final moments, and consistency is the name of the game with The Last Buck Hunt, as from top to bottom it’s a thoroughly entertaining and well-crafted film. 

There is no release date set as of this writing, so in the meantime, you can keep tabs on The Last Buck Hunt by heading over to the website at: The Last Buck Hunt

George: A ZZZZZZombie Intervention (2011)

What is essentially a pairing of A&E's Emmy award winning series, Intervention (which usually finds a way to make me feel somewhat better about my addiction to Charleston Chew candy bars) and the zombie subgenre, George: A Zombie Intervention (2011) takes two overplayed genre conventions, zombies and humor, and injects them with a fresh idea that doesn't necessarily equal a winning combination.

The premise is fairly simple, showcasing zombies as people who are, as per usual, dead and enjoy the sweet, succulent taste of human flesh. However, they are also able to function as normal human beings and are accepted members of society, but there is the rare occurrence of a zombie going on a human flesh binge, which is the case with this film's titular character, George. Seeing his problem as a form of addiction, George's friends get together to intervene, giving him the ultimatum of going to rehab or losing them as friends. As you would see in any given episode of Intervention, George doesn't believe he has an eating humans problem and becomes standoffish to the idea of rehab. However, as the night grows long and more people begin to show up - and even more begin to mysteriously die - George must eventually face his demons.     

The zombie subgenre, or, more specifically the zombie/comedy subgenre, has become so over saturated that there is barely even the smallest sign of a fresh idea in what is produced nowadays. Naturally, there are still a few that shine through; films that are able to take a tired genre staple, inject a fresh idea into it and deliver something fun and refreshing, even in an overly submerged market. Director J.T. Seaton, who co-wrote the film with Brad Hodson, had what was initially a great idea, but it's how that idea was executed that holds George: A Zombie Intervention (aka George's Intervention) back. 

Where George: A Zombie Intervention falls flat is in how unnecessarily over-the-top silly it tries to be, which results in the film feeling like an overlong comedy skit that simply overstays its welcome. The concept is already funny, but to go so overboard takes away from the humor that comes naturally from the initial idea. A perfect film that I could compare George to is 2006's Fido, a zombie film with a hysterical concept but a subtle, stick to your guns execution. The humor in Fido was tongue in cheek, subdued and sharp, and it is those aspects that made that film a joy to watch. George: A Zombie Intervention pushes the matter too far and it affects the film's overall appeal. There are some very funny moments, but most of the more successful comedic moments come from subtlety as opposed to the times when full-on humor was being attempted. The comedic tonal changes and ideas are confused and tedious, leaving the film to be scatterbrained and, more importantly, left this viewer with a slightly bored taste in his mouth.

Regardless of the film's major comedic flaw, George: A Zombie Intervention is not a terrible movie in regards to the filmmaking and acting. For a low-budget movie, the film looks good enough quality wise. Most of the performances are decent, with Carlos Larkin given the standout performance as George. It was also nice to see genre actress Lynn Lowry (I Drink Your Blood, The Crazies) in the film, as she does a commendable comedic job playing a half-assed interventionist hired to help George with his problem. In addition, the budget make-up effects are very good and the film does deliver a few fun gore moments that should be best appreciated by genre fans of my generation. 

I wish I had more positive things to say about this film, but so much of it hinges on the humor. Sadly, much of the humor simply did not work for me. I am incredibly picky (and cynical) when it comes to my comedy, and I generally do not find much of what the mainstream considers to be funny all that humorous, so maybe the humor might work for you. I wouldn't want to necessarily discourage people from giving George: A Zombie Intervention a shot because it's not a terrible film, I just didn't find it to be a very funny one.

Salute Your Shorts: The Code (2011)

Directed by Mark Blitch, The Code is a horror comedy short film that was specifically created to compete in the 2011 Splatterfest Festival in Houston, TX where it went on to win an impressive 11 awards. Written by Jason Walter Vaile and Alan Tregoning and featuring Tamara Voss, Taylor Brandt and Todd Terry, the just under 6 minute short is a look at the importance of communication in an internet savvy world.

Outside of telling you I think The Code features a funny idea that is well executed (especially in the first half), reviewing a horror comedy such as this would be somewhat pointless. I wouldn't want to simply repeat jokes I think are funny, though, I will mention that Chad's laugh is pure gold.

It's good stuff, so take a break from your hard partying and have good laugh!

The Loved Ones: Finger-Lickin' Good

After losing his father in a car wreck in which he was driving, Brent has been going through immense growing pains trying to deal with his dad's passing. Without a clear clue as to how to handle the pain that comes with such a loss, Brent (Xavier Samuel) has become slightly rebellious, resorting to self-inflicted physical pain to try and help cope with the hurt that he feels emotionally. Brent is a shell of what he once was, however, his relationship with his girlfriend, Holly (Victoria Thaine), is strong, and she would seem to be the best medicine for the infinite sadness that surrounds him. As bad as things have been for Brent, things aren't looking to get any better as an admirer named Lola (Robin McLeavy) asks Brent to the prom, an offer that Brent respectfully declines seeing as he is going with Holly. Not one to take no for an answer, Lola has Brent kidnapped so they can enjoy their own personal prom at her home, complete with disco ball and her father (John Brumpton) playing chaperone.   

Now, imagine if the Letherface clan from The Texas Chainsaw Massacre 2 impregnated Annie Wilkes, then nine-months later she had a wittle baby girl and named her Carrie. Well, that's kind of the best way to describe The Loved Ones. The first feature film from writer/director, Sean Byrne, The Loved Ones is an Australian horror film with a wicked black sense of humor set primarily in one location. That location being a kitchen, living room, and dinning room combo made up to look like a prom only a psycho could appreciate. And psycho is no less than the perfect descriptive for a girl such as Lola, a twisted young lady that is not portrayed as a complete loser but more of a nobody, or at least somebody that really doesn't matter in the big scheme of high school.

As opposed to many lonely losers in high school set horror films, Lola is never shown getting picked on or belittled by her classmates. The only time she is really seen before her homemade promenade is when she actually asks Brent to the dance. While it's clear that she's not really the type of girl anyone wants to chill with on a hook-up level, Lola's not completely pathetic looking, either; she's just plain. Her motives for kidnapping Brent have nothing to do with revenge nor is there any need to fill a void left by being unwanted. It's much deeper than that as she has issues that delve well into a world of delusion as she has a need to control the people around her. Specifically with the relationship she shares with her father, which is one that floats an incestuous line where her domination is one part sexuality and another part daddy's little girl.

It's all quite sick and deranged, but as much as this film is twisted, The Loved Ones is filled with humor that is so dark, you might want to watch with a flashlight handy. A lot of where the humor stems from is due to a wonderfully sadistic and decadently mad performance put forth by Robin McLeavy as Lola. The Loved Ones is quite simply a perfect example of a black horror comedy, and the balance of the horror and humor in the film exactly mirror that of the character of Lola. Here is a movie that is funny enough, it's brutal enough, it's serious enough and all without any one of those individual elements being too overbearing. The comedic elements never take away from the horror of the situation, which is very important because there is a level of emotion brought to the table with some of the characters, something else that's never played off too heavily, either.     

As I mentioned, Lola is not portrayed as a complete waste, in the same token, Brent is not shown in a light that is negative, either. He's not the bully that you actually want to see get his just desert, instead, he is a pretty sad kid that is easy to feel sorry for, thus making him truly the victim in this situation. Brent is actually one of the few cinematic rebellious teens that doesn't completely irritate me, which is rare with most films of this nature. A lot of that has to do with Brent being someone that Byrne clearly wrote in a manner that respects the character and doesn't feel completely disconnected from the teenager as a real life entity. This is an area that can really hurt a film such as The Loved Ones, so it's nice to have characters that, while not breaking any boundaries, are well realized.

Spending much of the time in one location, The Loved Ones never overstays its welcome as things move along fairly quickly without too many lulls. Things are broken up with minute story lines following Brent's mother, as well as Holly, both of whom are clearly concerned for his well-being (which is only compounded by Brent's slightly suicidal state of mind). Another tool that is used to break up what could be the monotony of a long torturous dinner table scene is a side story focusing on Brent's pal, Jamie (Richard Wilson), who is on a date with the hot Goth chick, Mia (Jessica McNamee). The time spent with these two characters seemingly has nothing to do with the film's core, yet, it is all handled in a way where it doesn't feel boring and works to break things up unobtrusively. Furthermore, even if it seems there is no connection to the main story, there is a pretty heavy reveal that puts a small emotional punch behind Mia's rebellious motivations as well as something that connects her to the main plot.

The Loved Ones is not the most original picture to have ever been put to celluloid, but what's in place works and works wonderfully for the type of film that it is. It's not always an easy task balancing horror and comedy (let alone black comedy), but Sean Byrne has certainly come out swinging with this one, and I believe a lot of that has to do with him showing respect for both the genre as well as its fans.

Sit Fido, Sit…Good Zombie

No matter how many times I had heard great things about the 2006 Canadian zombie film, Fido, I still, for whatever reason fronted on it. Finally sitting down to watch it recently, I found myself far from disappointed, and while there are many ways to handle a horror comedy, Fido does so with the sharpest of wit and a double dash of social commentary, avoiding the over-the-top route that many of the genre seem to take.

Directed by Andrew Currie, Fido is set sometime in the 50's where - due to some cosmic space dust the Earth passed through - all of the dead have come back to life, fittingly, with a taste for human flesh. A massive war against the zombies ensued and with the end of that war came the birth of ZomCom (short for Zombie Comedy?), a government funded corporation that found a way to domesticate the living dead so they could be used as servants. Special collars were created to control the zombies, and every household in America has one of their own. These tamed un-dead do everything from laundry and mowing the lawn, to even being used for tasks like delivering the newspaper and working as crossing guards for school children.

Fido focuses on the Robinson's, a seemingly normal family consisting of Bill, his wife Helen and their son, Timmy. While they seem as normal as anyone else does in their perfect little suburb, they lack one thing, a zombie. This is something of an embarrassment for Helen, as it's all about appearance in their snotty neighborhood and being without a zombie is less than the best. Due to a childhood trauma during the "Zombie Wars," (as they're referred to) Bill has always been against getting a zombie, but to fit in with the rest of their neighbors, Helen gets one anyways and Bill begrudgingly goes along with it.

Timmy Robinson, who is sort of a loner and is picked on by his peers, befriends the zombie when he saves Timmy from some bullies. Timmy aptly names his new best friend and pet, Fido, and they form a strong bond much like a boy and his dog would. However, when Fido's control collar malfunctions, he eats one of the neighbors, resulting in a small zombie outbreak and the possibility of the Robinson's being held accountable and being sent to the forbidden zone by the ZomCom corporation. If you can't tell by the name, the forbidden zone is bad news.

Fido relies less on outrageous jokes and goes for the comedy jugular in a much smarter and more subtle way. While there are some very funny moments, Fido is not a laugh riot, but more of a cleverly thought out comedy with a heavy splash of satire on American culture. There's peer pressure to be like everyone else as seen with Helen feeling the need to own a zombie like her neighbors as well as Timmy being bullied for, essentially, not supporting ZomCom. There are moral questions about the enslavement of these flesh eating creatures for personal use and whether or not they really are nothing more than just monsters, or is it fear projected on society that makes these zombie more monstrous than they might be. Are the zombies a product of fear themselves and they react violently due to how the human population reacts to them? With this situation also comes the subject of racism with the zombies taking the place of minorities in this perfect little white bread American setting.

Many of these social issues are as fitting then as they are even in our modern times. Setting the film in the 50's works as that is a time when America is perceived as cookie cutter and easily influenced with the use of fear tactics (Fido fittingly starts off with a propaganda film about the zombies, which is shown to kids in school). It's a perfect contrast to the world we live in today and while some would look back on that time and think how ignorant people were, really, nothing much has changed outside of the country being more cynical and somewhat more informed due to technology. More informed doesn't equate to less ignorant, however.

The 50's setting is perfectly captured and the look of Fido is spot on to that time period but through the eyes of a TV sitcom as opposed to real life. There are great little touches like the edges of the movie being slightly rounded, to make it look as if it's playing on an old styled television or the clearly fake background when characters are driving their cars. There are many elements that are akin to an episode of Lassie, complete with "Timmy" asking Fido to go and find help when stuck in a bad situation. Funny enough, instead of barking to get help, Fido growls and grunts.

All of the portrayals are fantastic with a great cast that consists of Dylan Baker, Carrie-Anne Moss, and K'Sun Ray making up the Robinson's and Billy Connolly playing the titular role of Fido. Carrie-Anne Moss actually stood out the most, as I would never had pictured her being able to play the role of 50's housewife, but she pulls it off incredibly and looks quite nice doing so, which was an even bigger surprise.  

Fido is not an in your face comedy like Zombieland, or even to an extant, Shaun of the Dead. With it's setting and how the humor is handled, it is more along the lines of the Tim Burton classic, Edward Scissorhands, than anything else. Even with all of the social commentary throughout the film, it never feels forced, instead, it comes to the viewer naturally during the movie and when further thought is provoked. Even in the oversaturated zombie and horror comedy markets, Fido finds a way to breathe some fresh air into both genres, and I can only suggest you take a whiff of these un-dead flowers for yourself.

Freddy’s Friday Night Dance Party!: Enormous Schwanzstucker Edition!

Have I got a “Monster” of a Dance Party planned for all you jive ass turkeys this week! It is a memorable scene taken from an ageless horror comedy and is a big reminder why Mel Brooks was so awesome back in the day. It’s Puttin’ on the Ritz as performed by Dr. Frederick Fronk-en-steen! and his Monster. Enjoy.  

Originally written in 1929 by Irving Berlin, Puttin’ on the Ritz is a classic song, but that shouldn’t be too much of a surprise since it’s like, a billion years old. Now, this little song and dance number from the 1974 Mel Brooks classic, Young Frankenstein, is just as classic, without being nearly as old and man, it is still incredibly funny. The legendary Gene Wilder and Peter Boyle knock this performance right out of the park and the chorus is just flat out hysterical, no matter how many times I’ve seen it. I actually revisited this film very recently after not seeing it for many years and I was so surprised at how well it holds up, as well as how enjoyable looking Teri Garr was. Roll in zee hey, indeed.

You thought Friday the 13th was bad?!

A lot of folks did a post in celebration of Friday the 13th, but I forgot it was Friday the 13th, so how about some love for the following day? It Gets bad on Friday the 13th, but it gets worse on Saturday the 14th!



Just when you thought it was safe to look at the calender again! Oh I get it...that's like a Jaws joke, funny.

Freddy's Friday Night Dance Party!: 2 Hot 2 Handle Edition!

After posting my review of Paranormal Activity earlier in the week, I found myself inspired. That inspiration is what provides us with this week’s song of choice for Freddy's Friday Night Dance Party. This pajama-jammy-jam is fitting to what Katie and Micah went through, they were facing an unknown haunting, and they were facing it all on their own. Had they called the Ghostbusters...well, let's just say, they would have been in control. So grab your proton packs and split, to the dance floor, for a pre-crack (maybe) Bobby Brown and his song, On Our Own!



A far cry from Ray Parker Jr's beloved, Who You Gonna Call, On Our Own was recorded and released by Bobby Brown in 1989 as a single from the Ghostbusters II soundtrack. Great cheesy 80's video, complete with awesome special FX, dancing, spandex, and more celebrity appearances than you can shake an ass at...Christopher Reeve makes an appearance for cryin' out loud (which actually kinda bummed me out a little)! On Our Own was my song! For real. Everyone fronts and says how Bobby Brown ruined America's sweetheart, but personally, I think that trick went to the crack, but Bobby gets all the blame. I would take Every Little Step and On Our Own over I'm Every Woman and that Bodyguard crap any day. America's sweetheart...pfft! If you didn't know what you were getting into with the bad boy from New Edition, crack is the least of your problems.

Zombieland

For the sake of not spoiling anything about Ruben Fleischer's Zombieland for anyone that has not yet seen the film, ye be very warned, spoilers are infesting this review. I would hate for someone to even accidentally have something ruined for them just by glazing over these here words...okay, snookums?

I am not inventing the wheel when bringing up the fact that there are disturbing amounts of zombie films that have been released since the zombie "new wave" began earlier in the decade. Many can complain about the over abundance, and I don't blame them at all, but with so many movies being made in one genre...you're bound to have a couple of gems here and there. For as many cruddy zombie films that come out as opposed to how many good ones - it's a very unbalanced ratio, to say the least. Nevertheless, it is a ratio I can accept when amidst all the muck comes films trudging through like 28 Days/Weeks Later, Dawn of the Dead '04, [REC], Shaun of the Dead, and now the newest kid on the undead chopping block, Zombieland.

When I first saw the trailers for Zombieland, I have to admit, I was not all that into it...only appeal for me was Woody Harleson and that's about it. I looked at it as another zombie movie that is going the comedic route, but what are the chances that another zombie comedy is gonna strike that Shaun of the Dead gold? Not very good. Shaun of the Dead is one of the best horror comedies, probably since American Werewolf even - so to be even in the same ballpark, let alone the same city would be a pretty difficult task to achieve. You know what, Zombieland is not only in the same ballpark, it's at bat with runners on the corners, no outs, and a 3-0 count.

Zombieland totally hits it outta the park - It was an absolute blast of a film and there were so many things to enjoy about this movie as a whole. Direction wise and technically, Zombieland is very apt and impressive at times. One of the things that had me skeptical in the trailers was the slo-mo stuff that looked like a practice that I have seen one too many times before. That technique is only used in the films opening credit sequence however, and it's used perfectly. To boot, it's an opening credit sequence that flat out rocked as Metallica's For Whom The Bell Tolls blares during a great zombie carnage montage. It instantly put me in the right mind set to watch Zombieland. I also really liked some of the transitions from scene to scene - very impressive and as with Zombieland in general, a lot of fun.

Zombieland is basic in premise, following only a handful of characters, mainly Jesse Eisenberg who plays Columbus. He also acts as the movies narrator and the concept is sort of inspired by Max Brooks' The Zombie Survival Guide, with Columbus having his own set of rules that he lives by, rules that have kept him alive through this zombie holocaust that has unfolded around him. These rules also serve as the film's driving force for the first act and works in what I would consider a brilliant way to introduce the viewer to this alternate zombie world in a creative and indirect way. I also loved how these rules would pop-up on screen when the actual rule was in use, and thankfully, it is not hokey, nor is it overused.

As Columbus makes his way to his hometown of, Columbus Ohio, he runs into Tallahassee, played by Woody Harrelson. As I mentioned, the only real thing that drew me in about Zombieland originally was Woody Harrelson. I am a huge fan of his work, as most should be, and he is fantastic in this movie. Harrelson as Tallahassee is what drives this film; he takes what is a very good movie and makes it great! He has such perfect comedic timing and his casting as a tough guy with a chip of zombie flesh on his shoulder is pitch perfect. The dialogue is great overall, but some of the Tallahassee stuff was tailor made for Woody, who spits out great one-liners and goes on gut busting tirades about the importance of having a Twinkie sooner than later.

Columbus and Tallahassee team up and go about their ways, till they run into tough as nails, Wichita (Emma Stone) and her tough as thumbtacks, 12 year old sister, Little Rock (Abigail Breslin). Both are a nice addition to the group as they bring a bit of opposition to the boys with the two sisters only wanting to lookout for one another and keep others safely at bay. For Columbus, a self admitted loner who had never even played tonsil hockey with a chick, he is salivating at any opportunity to meet a girl that he can fall for in such a desolate and empty world. It's a rocky relationship between the boys and girls, but that is to be expected when trying to survive the post Apocalypse.

Throughout Zombieland, I laughed out load so many times during this film and Tallahassee was a big reason, another was the surprise special guest, Bill "fucking" Murray! I knew there was some special appearance to be had, and I am sooo thankful that I did not "accidentally" find out whom before seeing Zombieland. The second I realized that the group of survivors are at Murray's house, I got insanely excited! Bill Murray is everything that Tallahassee says he is and to have him show up in Zombieland really added yet another layer fun to this movie. And I cannot express how funny it is when Wichita laughs at Bill Murray's last breath just as he is dying (because everything he does is funny), then apologizes and says, it's so sad! Classic.

A funny Bill Murray is not a stretch and neither is Harrelson for that matter, but it's Jesse Eisenberg that drives the movie and even with a strong performance from the whole cast, if he isn't great, then it would really hurt the film. Fortunately, his is fantastic and while many would be right in him doing a very Michael Cera centric portrayal, he does so very well with a top-notch sense of comedic skill, physically and verbally. He has some hysterical moments and teamed up with Harrelson, the two have great chemistry together and are the perfect "opposites attract" duo.

Even as a zombie comedy, there is of course a message hidden in Zombieland and it is actually handled well. Letting go of your past and not letting nostalgia drive your life, when you are living your life right this very second. All of the characters have a sort of distance from one another, in fear of becoming too attached. Everyone they have been attached to has been killed by, or become, the undead. So why bother going through the pain of getting to know someone in a world that has pretty much ended, a world where they can essentially die at any time. No one uses their name throughout the entire film; save for Bill Murray who is playing himself, but even during a Columbus' flashback, his neighbor is refereed to as 406 in reference to her apartment number. Going nameless actually makes for an endearing emotional scene with Tallahassee, and a sweet ending where Wichita tells Columbus her real name...this was a nice touch seeing the two toughest members of the group let their guard down for once.

Only complaint someone could have would be during the second act, where there isn't much in terms of zombie action. However, the character development was solid and kept me interested in their individual stories. Plus there is so much great humor that you don't even notice the lack of undead presence. Even with the slower paced midsection of Zombieland, there is plenty of walking (or running) dead action in the beginning and especially at the end of the film to make up for it. And the awesome Nightmare City inspired (okay, maybe not) ending...lets just say, there is nothing better than Tallahassee holding on to a moving roller coaster with one hand, while gunning down zombies with an Uzi in his other hand. With the solid box office showing of Zombieland, there are already rumblings of a possible sequel. I hope that this comes to fruition - I really had a fun time with these characters and this story, and it would be great to see what other shenanigans they can get themselves into.

Don't shoot, I'm gay!

Yep. Another zombie film. Another zombie Comedy. The fifth film announced for After Dark's Horrorfest: 8 Films to Die For is in fact a Zombie Comedy titled ZMD: Zombies of Mass Destruction. Directed and co-written (with Ramon Isao) by Kevin Hamedani, ZMD is about a small conservative island community that has been overtaken by flesh-eaters. The community has no hope for survival against the ongoing Zombie onslaught, until a rag tag band of rebels assemble to save the town.

Zombie movies...I just did a zombie movie review with Automaton Transfusion and I have a Zombieland review waiting to go up early next week, so I am kind of zombied out to be honest with you guys. However, ZMD does look like a cool little flick based off this trailer, with a couple of nice zombie gore shots and a mix of humor that actually seems to be somewhat funny. We will find out if this zombie comedy has any braaaaains (sorry, I should know better) or not January 29th of next year when 8 Films rolls into theaters yet again.