You’ll have noticed this already, but In the Flesh has not been about zombies. It’s been a kitchen sink drama, disguised by rotting flesh. The pale skin and the mutated eyes designed to attract your attention as, underneath, the thoroughly human message of the show has played out: the human capacity for love and forgiveness. It just so happens that the restless dead make a great allegory for laying things to rest.
Songs. Since the Doctor returned in 2005 they’ve formed a quiet coda in the background of his lives, and not simply because of composer Murray Gold’s bombastic injection of sound. ‘I sang a song and the Daleks ran away’, Nine told Rose. ‘Your song is ending soon’, the Ood warned Ten, and sang him to sleep. And Eleven? Well, he’s played around a lot with a certain Melody lately.
For an episode which did so much to ring in the new, there was an awful lot that was familiar about ‘The Bells of Saint John’.
The hugely successful stage show of Jeff Wayne’s musical version of The War of the Worlds has been brought to the big screen, but how does this new cast, with all new computer generated effects, play out in the cinema?
Suffolk’s spookiest cottage ends its mysterious journey through time, remorse and fashion as Lightfields comes to its inevitable conclusion in the fifth episode. But the finale ends on a more subdued and quiet note than expected.
Sam Raimi’s The Evil Dead is a seminal piece of cinema. It’s also not especially good.
That might be a controversial opinion, but when people rave about the Evil Dead series, they often refer more to the two sequels, which were far more overtly fun and funny than the original, which was a genre defining piece, and hugely influential, but in hindsight doesn’t play quite as well itself.
Once again, this show burns through plot faster than expected and opens up even more unpredictability to come.
Roll up, roll up, ladies and gentlemen! It’s time for another spin of wheel in ‘Seaside Suspect Roulette’. And what a game it it is.
Ah. Spring is finally here. After a long winter not dissimilar to 30 Days of Night, the UK is… erm, blanketed in more snow, being pummelled by Arctic winds and bored by the traditional British weather chat. It’s timely then, that we have a quartet of home-grown horrors to prove that there are some things our country is actually good at; namely, violence, misery and a dash of allegory for good measure.
Last week’s zombie lynching? What zombie lynching?
The final shocking events of Episode 1 may still haunt many of you, but as we open on Episode 2 of Dominic Mitchell’s undead drama, the killing of Ken Burton’s rehabilitated wife is scrubbed clean; washed from the tarmac and covered over with idle chit-chat. An act of un-remembrance at a time when the those killed during the uprising are being honoured by the massed ranks of the Human Volunteer Force.