Top 10 Best Horror Movies of 2018! | Arrow in the Head

For all the f*cking marbles folks, what was your favorite horror movie of 2018?

For me personally, theres only one definitive answer on the tip of my tongue, but well let you scroll down below to unearth that bad mother*cker in a minute. Because the truth is, 2018 proved to be a pretty damn good year for horror flicks, thriller joints, and sci-fi spectacles alike. What I love is the wide array of films and filmmakers, from feature debuts to bona fide classics getting refashioned, from equally impressive small scale indies to major big-budget blowouts. Theres a little something for everyone in our official Top 10 Horror Films of 2018. Slice and dice your way to the bone below!

#10. UPGRADE (LEIGH WHANNELL)

Truthfully, it wasnt until the second viewing of Leigh Whannells low-tech-scfi-fi UPGRADE that I had fully come to appreciate its ingenious design. In fact, after seeing it again I went back and upped my review score by a point. Point is, not even the strictures of a $5 million budget could tamp down a good idea, and with Whannell having a clear idea of what he envisioned his screenplay to look like, he was able to give us something altogether new, a riotous retro-upgrade of sorts that pushes the notion of AI further, while still dialing it back technologically. Somehow those two distinct poles attract strongly to each other, likely due to the magnetic performance of Logan Marshall Green, who kicks all kinds of ass in the flick as a brutal bionic luddite hot on the trail of his wifes killers. Batting two for two, Whannells sophomore effort is a clear UPGRADE over THE LAST KEY! GET IT HERE

#9. REVENGE (CORALIE FARGEAT)

Oh the irony. Never before has there been such a blandly uninspired title for such a thoroughly amusing and delectably refreshing movie. Well, not until REVENGE, that is. Indeed, this relentless electrically charged thrill-ride from French filmmaker Coralie Fargeat, her feature debut mind you, is about as gratifying a time one could have enjoying a genre flick in 2018. The story, about a trio of middle aged CEOs out for their annual hunting party in the desert, takes a harrowing turn for the worst when one of their mistresses is gang-raped by the other two. In a rightful route of REVENGE, the poor chica (Matilda Anna Ingrid Lutz) goes batshit-bonkers-ballistic on her evil assailants to the tune of unspeakable but justified carnage. And thats just it, as badly beaten and vilely violated as she is, we are 100% onboard with every damn decision she makes to get even, knowing full well that an eye for an eye leaves us all blind. Doesnt matter, REVENGE is a dish best served bold! GET IT HERE

#8. THE ENDLESS (JUSTIN BENSON & AARON MOORHEAD)

One of the more understated but equally unforgettable horror flicks of 2018 is ENDLESS, the exquisite million dollar sci-fi brain-buster from the directorial duo of Justin Benson and Aaron Moorhead (RESOLUTION, SPRING), who happen to also star in the film as well. The story follows a pair of brothers returning the seemingly benevolent UFO death cult they once belonged to. As one brother wants to stay, the other wants to leave, but neither can quite know what to do when the invisible sway of some higher governing power beckons them into freakily untilled territory. The mystifying air of uncertainty and palpable sense of anticipatory dread throughout the film is among its strongest suits, as we, like the brothers, can never really true who, if anyone, has their best interests at heart. With its limited resources, theres a crafty DYI tactility to the technological aspects of the movie that keep the story rooted in reality. GET IT HERE

#7. MANDY (PANOS COSMATOS)

Lets give it up to the one and only Mr. Cage, who despite tossing in the towel eons ago, stars in not one but almost two horror flicks that made our Top 10. The first honorable mention must be given to Cages febrile turn in Brian Taylors brilliant dark comedy MOM AND DAD, which is a downright blast from start to finish. But where we really want to focus the love is toward the other Cage vehicle, MANDY, whose unremitting violence may only be rivaled by a single other film on this list (hint: just one number down). Directed by Panost Cosmatos (BEYOND THE BLACK RAINBOW), MANDY also has even more in common with its successor (or predecessor depending on your POV), in that its a straightforward revenge tale on its surface, but far more reliant on style than story to get its piercing point across your throat. Indeed, this shite goes for the f*cking jugular, centering on a mans dogged determination to find his girlfriends cultish kidnappers and serve them all a lethal dose of grisly comeuppance! GET IT HERE

#6. YOU WERE NEVER REALLY HERE (LYNN RAMSAY)

As breathless and blunt as the flattening force trauma it lops you upside the head with, Lynn Ramsays short and bittersweet YOU WERE NEVER REALLY HERE is easily one of the best and boldest genre flicks of 2018. The sheer notion of an embattled war vet with crippling PTSD coming home to carve a niche for himself, one that entails tracking down missing girls is too compelling to ignore on its face. So when you throw in the always intimidating Joaquin Phoenix in the aforesaid role and let him exact his barbarous brand of nihilistic violence, oh hell yes, were looking at severely scarifying cinematic salvo. I know our C.Bum gave the flick a perfect 10/10 rating score, and Id agree as to why, which is less about what the plot is and more about how well executed it is under Ramsays own personal signature. For horror fans, the violence alone is recommendable in how vicious, vile and unvanquished it is! GET IT HERE

#5. HALLOWEEN (DAVID GORDON GREEN)

Against the tallest of odds our main murderous madman Michael Meyers towered over both protective fans of the original, and the qualitative dreck of its countless sequels, reboots and offshoots. When the dust of that collapsed Strode basement cleared, the decision to do a direct continuation of John Carpenters landmark slasher blockbuster proved to be the wisest and winningly wicked one to date. Give Carpenter credit for not only lending his blessing, but giving script notes and an updated film score as well. Props are also due to Danny McBride and David Gordon Green for eschewing their comedic calling cards in favor of delivering an homage-laden riff of the entire HALLOWEEN franchise, while still pushing the narrative in new directions. Jamie Lee Curtis gives her best Laurie Strode performance to date, plumbing the psychic chasm brought about such severe PTSD. HALLOWEEN is a solemn and affectionate ode to horror of yore in a way that, perhaps in another 40 years, will stand mask to mask with Carpenters original. GET IT HERE

#4. ANNIHILATION (ALEX GARLAND)

Since it came out way back in February, there may be a tendency to sleep on Alex Garlands trying transformative stint of spiritual psychedelia, but theres no way in hell were omitting ANNIHILATION and its brazen biological blitz of baleful beauty. Natalie Portman leads a killer female cast beyond the barrier of an ecological disaster zone called The Shimmer, at first to locate her missing husband (Oscar Isaac), then ultimately, perhaps even wittingly, to shed her sense of self and undergo a mysteriously maddening evolutionary metamorphosis. We wont spoil much for the uninitiated, but suffice it to say ANNIHILATION boasts a majestic trenchancy that will stimulate your mind just as it does your eye, the synthesis of which (the minds eye) offers a mystifying sense of enlightenment when all is said and done. With top-tier acting, marvelous visuals and a thought-provoking plot, ANNIHILATION will obliterate your mind! GET IT HERE

#3. SUSPIRIA (LUCA GUADAGNINO)

Allow me to quote myself like a total asshole and say, unequivocally, that Luca Guadagninos SUSPIRIA is a luridly seductive fever dream! Granted, the film is overindulgently long, but the tonal sway and raw imagery in SUSPIRIA is among the most unshakably indelible of all horror films in 2018. More than that, though, is the way in which Guadagninos sensorial story slowly seeps under your skin, festers via its frightful festoonery, before gripping your ass tightly in throes of full-blown possessive hypnosis by the time its over. Its masterful misdirection at its most maddening! Much has rightly been made of the infamous sequence that reduces a character down to a cracked pile of bone, hair and feces (sure to make our Top 10 Horror Scenes of the year, stay tuned), but what really makes this high-art-low-brow-stew so damn delicious is the performances of all involved, but particularly Tilda Swinton doing triple-duty as she rolls and revels in the reviled! GET IT HERE

#2. A QUIET PLACE (JOHN KRASINSKI)

Im not sure if its the soft bigotry of low expectations or what, but I honestly did not expect John Krasinskis A QUIET PLACE to be such a wildly satisfying cinematic experience. And yet, by any metric, the film is universally included in the top horror flicks of the year. Rightly so. And what works so well about the film beyond its novel premise about a family unit silently traversing a countryside wracked by monstrous incursions hunting by sound is how well the screenplay pulls all the right sympathetic strings to make us truly care for every individual character along the way. The opening salvo goes a long way in this regard, as does the casting of the genuinely deaf Millicent Simmonds, but where the movie really excels is in the way it builds a world, establishes its own set of rules, sticks by them, and allows honest character motivations to dictate a compelling family drama. GET IT HERE

#1. HEREDITARY (ARI ASTER)

I said it back in June and Ill confidently echo the sentiment here and now: HEREDITARY is the scariest movie I have had the pleasure to review in ten years writing for AITH.com. Never mind 2018, its the best horror flick of the last decade! Ari Asters searing psychological whirlwind about the Graham family has a mortifying multilayered density to its story structure, beginning as a gripping family drama first and above all else, before slowly peeling away to reveal its true nature as a demonic possession piece, or as I read the film, an excoriating rebuke of religious fanaticism that is not only passed down from generations, but lives solely in the mind of its believers. The acting in the film, led by Toni Collettes tour-de-force, gives the horrific elements of the story the proper dramatic weight en route to delivering a knockout blow in the final act. HEREDITARY will get into your bones, seep into your blood and carry on to the next generation as an all-time horror classic! GET IT HERE

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The 10 Best Horror Movies of 2018 – vulture.com

10 Best Horror Movies of 2018

Photo: Maya Robinson/Vulture and Photos by Neon, Paramount Pictures, Amazon Studios and IFC Films

We said it in 2016. We said it in 2017. And now we get to say it again in 2018: Its been a great year for horror! And year-over-year, we see the genre getting a little more queer, a little less white, and little less bound by patriarchal structures, as the subversion of old genre clichs beloved as they are becomes more the rule than the exception. An anniversary getaway for two married women goes deadly wrong in What Keeps You Alive. Luca Guadagnino made Suspiria into a bloody ballet. Annihilation turned the internal war of the self into a beautiful monster, and Halloween ended up being a studio-funded slasher about the long-term effects of abuse. And the women in front of the camera reigned supreme as impeccably styled witches, hard-boiled scientist explorers, cam girls, powerful mothers, monster killers, and more. On top of all of that, this was a year when the best sequels and remakes and adaptations made statements just as bold as the experimental indies, and below youll find them in Vultures ten best horror films of 2018.

When production started two years ago on the John Krasinksiwritten and directed scary movie A Quiet Place, none of us were predicting it would go on to be one of the highest earning and most critically praised horror films of the year. And yet! Krasinski and Emily Blunt star in this creature feature about a family of four (with one on the way) trying to survive in a new world overrun by sound-sensitive monsters. Recent films like Dont Breathe and Hush have used sensory deprivation horror to great effect, but A Quiet Place brings that technique into a full-on monster movie. And little details like using large leaves to serve food and making board-game pieces out of soft materials to prevent noise made the world-building feel complete. Krasinskis movie is the popcorn horror spectacle of the year, and for that we honor it.

The directing duo Aaron Moorhead and Justin Benson have been two of the most exciting filmmakers in the genre space for years now, and their latest offering, The Endless, is both an outstanding original film and a nod to their previous work that will reward longtime fans. In Endless (written, as always, by Benson), the pair star as brothers who fled a death cult years ago, but who have had trouble assimilating into society since breaking free. After receiving a video message inviting them back to the compound, they decide to take a brief trip and finally get closure on that early chapter of their lives. Awaiting the brothers, however, is the realization that their cult friends might not have been so crazy after all, and the more time they spend on the compound, the less likely it is theyll ever be able to leave it again. The Endless is an exciting puzzle film that is visually surprising and assumes an intelligent audience, and it also serves as proof to all aspiring filmmakers that big visions need not be stifled by limited resources.

What Keeps You Alive is an engrossing thriller about a married couple whose anniversary turns into a murderous game of cat and mouse, but the fact that a well-realized lesbian couple is the focus of the story lifts it to a higher level. One of them turns out to be a sociopath, but other than that, Jules and Jackie are just your average married folks in a rut, and writer-director Colin Minihan never lets their sexuality become a novelty for voyeuristic viewers. Little indies like What Keeps You live and die by the depth of your emotional investment in the characters, and lead actresses Brittany Allen (who also composed the score) and Hannah Emily Anderson both give gritty performances that pull you along with every step in their deadly dance. In scale and tone, What Keeps You Alive is a truly intimate horror experience, and while much attention is paid to stylized, high-concept features, Minihan reminds us that a well-crafted story and a few actors willing to get insane are all you need to make a top-shelf scary movie.

You know its a Red Letter year for horror when even the most stalwart slasher property can be retooled to fit modern cultural sensibilities and still feel fun as hell, all while avoiding the gigantic bear trap of coming off like a hollow cash grab. For this direct sequel to John Carpenters 1978 classic, the master himself returned with his son and godson to jack up the iconic horror score, and the script by Danny McBride and director David Gordon Green played up how inherited trauma can shape a family across generations. But most importantly of all, 2018 Halloween featured Jamie Lee Curtis as a battle-scarred Laurie Strode, who has spent the 40 years since the original Halloween massacre fortifying her life in anticipation of Michael Myerss inevitable return. An untreated victim of abuse who leans a little on the bottle and has sacrificed all of her most personal relationships to her obsession with the Shape, Lee ferociously embodies a brand-new take on the character shes played off and on for decades. In doing so, she makes Laurie an ideal heroine once again, but this time around its for an era in which abuse victims (especially women) are speaking out and fighting back against their powerful persecutors like never before. Horror has always been exciting lens through which to examine gender politics, but when the traditionally teen-powered slasher set can be raised to new heights by an angry, shotgun-toting 50-something woman whose real biggest villain is the PTSD shes carrying around, you feel like youre seeing something special.

The on-set mantra for writer-director Coralie Fargeats rape-revenge pulse pounder was, More blood! Its what she told her VFX team when they were pouring the sticky synthetic substance all over the walls and floors during Revenges wild climax, and its what she told her composer Rob when he was making the films score. Because her movie isnt one you just watch. Its one you feel in your guts. When a woman named Jen (Matilda Lutz) is raped by one of her boyfriends buddies and left for dead by the men in the desert, she must find her way back to the posh vacation home and kill any of the bastards who try to finish her off. In turning Jen into a warrior, Fargeat intentionally left her scantily clad throughout the film, symbolically aligning her strength with her natural body instead of a suit of armor that would link Jens newfound power with a forced sense of modesty. Rape-revenge is a historically tricky subgenre, subjecting women to ultimate violations in the service of giving them ultimate power over the men who abuse them. But in Revenge, Fargeat delivers something empowering that avoids the exploitative traps of R/R films while still emphasizing the impact of sexual trauma on victims. Its not for the sensitive souls, but Revenge shows how even the most problematic parts of horror can be reclaimed for the good.

If there is a signature of horror films in 2018, it is fearless, furious, screen-chewing performances from women, and the high bar was set this summer by Toni Collette in Hereditary. Writer-director Ari Asters debut feature is a portrait of domesticity gone sour, revolving around a family that endures a series of tragedies, each of which sheds more light on a disturbing trail of secrets. Collette plays Annie Graham, a wife and mother of two who is dealing with the death of her own mom as she prepares an art show of elaborate miniatures. The extremely realistic replicas become a kind of parallel staging ground for the daisy chain of unfortunate events befalling the Grahams, and as Annie strays farther from reason, Collette unleashes a level of rage it feels like shes been building up to for her entire career. Aster proves he has style to spare in this gorgeous original picture, which is made all the more discomfiting by a terrifying score that feels so organic it practically emanates from the walls. It also boasts the most body-shocking, horrific twist of the year.

Theres something so pure about Terrified, the Argentinian film from writer-director Demin Rugna that it won best horror feature at this years Fantastic Fest. It is, as the title suggests, extremely scary. The story revolves around a collection of houses that sits on a seam between our dimension and a dimension inhabited by demons. When a crack opens, they get through, and hideous figures start terrorizing some unsuspecting suburban homeowners. A team of paranormal specialists are brought in to resolve the problem or at the very least figure out what the hell is going on but their meddling only yields more danger than theyre capable of handling. Terrified shares DNA with Insidious and The Conjuring, except it feels meaner than both and has the best cold open of any horror movie this year. If you want a perfect haunted-house experience, Terrified is it.

Director Daniel Goldhaber and screenwriter Isa Mazzeis stylish little number about a camgirl being persecuted by a mysterious online force came on late in the year, but it came on strong. This psycho-tripping body horror story was derived from Mazzeis own experiences as a cam performer, and its anchored by Handmaids Tale star Madeline Brewer, who gives a massive performance over what amounts to three roles: Alice the heroine; Lola, her online persona; and imposter Lola, who overtakes her life. In a story that could easily slide into salacious pulp, Goldhaber and Mazzei collaborated closely to ensure that the sex worker empowered by her chosen profession and not marred by trauma is the core of the story instead of the titillating details of the sex work itself. Cam is sensual without being sleazy. It treats the cam professionals and the people who patronize them with respect, while also making a horror show out of the dangers performers face due to continued stigmatization. Its also driven by the ubiquitous modern fear of our real lives being corrupted by our digital ones. When topical terrors blend with timeless fears and they look this good, you have horror at its best.

Alex Garlands adaptation of Jeff VanderMeers novel of the same name is the most thematically dense and visually arresting horror film of the year. The movies alternate dimension, the Shimmer, is as beautiful as a sweet dream, which makes the nightmare fuel of eel intestines and bears with human screams all the more horrifying in comparison. But Annihilation, which focuses on an all-female team of scientists who go into the breach of an alien-like world, is so much more than mere shock and awe. As Vulture critic Emily Yoshida said, Its about self-defeat on a molecular level, an entropy of the self. And our own Angelica Jade Bastin called the movie, A masterwork I felt in my nerve endings, a brutal, gorgeous meditation on the rigors of depression and the human impulse toward self-destruction. With the combined high execution of dramatic jump scares and existential terror all set in a kind of avant-garde Terrible Place with an already iconic score, Annihilation is a sci-fi horror fans dream.

With his remake of Dario Argentos horror classic from 1977, about an American girl attending a dance academy run by witches in Berlin, Luca Guadagnino did not set out to flatter his predecessor with imitation. Instead, he muted the whole color palette, emphasized the historical context to make it overtly political, and delivered a 150-minute paean to feminine power. As Yoshida said in her review out of the Venice Film Festival, Susies path is not a heros journey; shes not there to do anything so patriarchal as conquer an enemy or find herself. Guadagninos vision does not allow for anything so seductive or comforting as that. Suspiria is a gorgeous, hideous, uncompromising film, and while it seeks to do many things, settling our minds about the brutality of the past and human nature is not one of them.Suspiria is beautiful, brutal, and at points can make you ache with sadness for love lost. And at a time when Hollywoods interest in preexisting IPs has reached obsession levels, Guadagnino also proves that with the right touch, remakes can be even more vital than their predecessors.

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The Best Horror Movies of 2018 – filmschoolrejects.com

You may not have heard, but horror is dying. Or maybe its enjoying a renaissance? I cant keep up, but the one thing I do know is that I saw some fantastically great horror films this year. What are they you ask? Terrific question. Now keep reading for the answer as I present to you the 18 best horror movies of 2018.

A quick note: four of this years best horror new releasesmade 2017s best horror list on the strength of their festival premieres, so Im not including them again as part of the numbered ranking below. I am including them at the head of the list, though, as they officially released this year, are fantastic and deserve your attention.

This zom-com Christmas musical from Scotland is an epic blast of genre fun, and its bloodletting, wit, and aurally-addictive songs deserve to be in the eyes and ears of people who love awesome things. Which should be everyone. The film brings the funny without losing sight of more horrific beats, and it gives us an appealing mix of characters who quickly start biting it or being bitten brought to life by a roster of talented performers. See it with a crowd, see it home alone, just see it and revel in the glory of the most entertaining thing to come out of Scotland since our very own Kieran Fisher.

Writer/director Giddens Ko previously delivered the sweetly affecting coming of age tale,You Are the Apple of My Eye, but his latest shows him to be equally adept at exploring a far darker look at the pains of youth. There are mean and sad themes at work here, and the fact that it hits those bloody, nihilistic, and painfully honest beats while also being incredibly funny is something of a minor miracle. Its a story featuring monsters, both human and otherwise, telling a tale of bullying, consequences, and accountability, and its ultimate observation devastates and haunts us long after the credits roll.

The familiar trappings of a zombie apocalypse are just the beginning here, but theyre taken in directions most similar films dont attempt. The undead are still human, their pain is still very real, and their purpose is a mystery in its own right. Its beautiful, bloody, and sad to boot, and unlike most zombie films the story has its share of mystery.

Rape/revenge tales are rarely presented as attractively-shot daylight affairs,but thats precisely whats accomplished with Coralie Fargeats feature debut. She wisely avoids forcing viewers to witness the assault and instead focuses her film on the pursuit of the title. Its gorgeous outdoor landscape offers a fantastic backdrop for the chase and vengeance.

Bigfoot movies are my jam seriously, I ranked 47 of them in 2017 and Ill always watch new ones despite the sad truth that most are unmemorable. This year has already seen a few, and this is both the best of the bunch and a terrifically fun horror movie period. Its a crass creature feature in some ways and stands apart from the rest of the list, but its great fun. What starts as a familiar horror trope involving a bickering couple shifts gears with threats from nature, armed humans, and Bigfoot creatures whove evolved beyond mere growls and arm-swinging. Script creativity, solid practical effects, and a unique creature design make for a fun time with Sasquatch.

Slashers arent exactly whats expected from directorDavid Gordon Green, but he brings his skills to the genre with the same intelligent eye hes applied to indies and comedies alike. Its a slick, attractively shot film with memorable tracking shots of Michael moving through an oblivious Haddonfield and dispatching human prey. Green also doesnt shy away from the grisly kills, and while several are captured postmortem, the resulting carnage is brought to life with some fantastic practical effects work. Michael stays busy throughout racking up nearly twenty kills which is fairly impressive for someone in their sixties who still refuses to run after his targets. The script is bumpy at best, but theres no denying the power of seeing Laurie Strode (Jamie Lee Curtis) face down an equally graying Michael one last time. (Well, last for now anyway.)

This creepy and scary South Korean flick is the only found footage film to make the cut this year, but even one movie using the format is impressive as theyre too often dull and frustrating affairs. Neither adjective applies here as were introduced to a charismatic and enjoyable cast of characters, and the scares start hitting sooner rather than later with beats built on both jumps and atmosphere. Its unassuming and has no pretense of dramatic weight, but it brings the goods in the horror department.

It can be difficult to get excited about zombie movies as there are just so damn many of them and they usually suck, but this year saw a handful that put fresh breathe in the sub-genres lungs. We already know that zombies can be terrifying when they snarl (28 Days Later) and scream (Les Affames), but one ofThe Night Eats the Worlds many highlights is the realization that theyre even scarier when theyre silent. The undead here look and act the part as they bare their teeth, run when in pursuit, and tear into flesh with abandon, but they do it all without uttering a sound. It adds an additional layer of eerie silence to an already quiet and desolate cityscape. Their lack of vocal stylings is fitting for the film as its something of a slow burn punctuated with brief bursts of violence, sadness, and energetic tension.

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This Former ‘The Walking Dead’ Star Has Some Harsh Words For …

Abraham Ford actor Michael Cudlitz doesn’t mince words about his former show.Credit: AMC

FormerThe Walking Deadstar Michael Cudlitz, better known to fans of the show as Abraham Ford, has some harsh words for the show he used to be a part of. Abraham met his end alongside Glenn (Steven Yeun) when Negan took his bat Lucille to both their skulls at the beginning of Season 7. In retrospect, it was a pretty good time to leaveThe Walking Dead.

It was the beginning of the end for AMC’s zombie drama, at least until its surprising revival in Season 9 under the welcome stewardship of new showrunner Angela Kang. But the sad fact remains: Seasons 7 and 8 were horrible, no good lousy seasons of television that made so many poor choices I couldn’t list them all if I tried.

And the show has suffered for it, with ratings collapsing even as it finally drags itself back from the brink. Indeed, both myself and my colleague Paul Tassi agree that Season 9 is one of the best so far (we talk at length about this in ourWalking Deadpodcast here.)

In any case, I’m not alone in thinking the past two seasons were hot garbage. Abraham actor Michael Cudlitz had some choice words recently for the show and its lead protagonist, Rick Grimes. Speaking at the Atlanta Walker Stalker Con, Cudlitz laid down some hard truths:

Lets be real clear, if he was gonna kill anyone other than me and I had a choice, it would be Rick. Because how many more people was that ahole gonna get killed? Cudlitz said, according to ComicBook.com.And while the audience was apparently shocked by this statement, he’s not wrong. Rick led his people into one disaster after another. This started long before the disastrous Negan storyline, but Rick reached new heights of recklessness and stupidity as the show’s writing quality plummeted.

The Walking DeadCredit: AMC

More Cudlitz:

Hey, I got a plan, lets show up to where all the Saviors are with 500 weapons, have them step 15 feet out into the balcony unarmed, and shoot the windows out above his head. You all know that sucked […] It was like the A-Team showed up.”

Apparently at this point the actor started “miming stray firing before imitating the showy Savior leader.”

Cudlitz again, mocking the terribleness of this scene which, if Rick had simply shot Negan when he first swaggered out the door, would have put a blessed end to this whole nonsensical plot:

Hes right there! Hes right there! He walks out the door. Its not even like he peeks out. Hes like Well, Rick! Ha ha ha! We better run!

This is all too hilarious to me, as it really brings me back to my own review of that episode:

Earlier, in Rick’s speech, he made clear that only one Savior had to die: Negan. (They go and kill several lookouts right after that speech, so it’s more like “only five people have to die” but who’s counting?) And who should walk out onto his doorstep in plain view of all these heavily armed rebels? Who gives them all the perfect chance to take him out then and there? Who swaggers like he’s the king of all he sees, never once worried that maybe Rick had given orders to shoothim on sight?

If you guessed Negan, you win.The Big Badwalks right out there like he hasn’t got a care in the world. He’s soon followed by his lieutenants, including the coward, Eugene, and the traitor, Dwight. It turns out, he had nothing to be afraid of. Despite being heavily armed, despite having multiple weapons with scopes and a clear shot, despite coming to do this very thing, nobody opens fire on Negan. Why?

This is one of those incredibly frustrating moments that have come more and more to defineThe Walking Dead.Because there’s really no good explanation as to why nobody shoots Negan the moment he showed his smug face. There’s no reason one of the dozens of rebels couldn’t have popped him at such close range.

I should point out that Rick also had snipers that expertly took out the Savior lookouts just before all this (so more like 7 or 8 people had to die, just none of them ended up being Negan because Rick eventually spared him out of mercy moments after murdering other Saviors who had helped him.)

In any case, it’s quite hilarious to see Cudlitz lay into the show with such naked honesty. Season 8 was just so horrendously awful it very nearly killed the show entirely. For instance, that Season 8 premiere review I linked to up above? That got 424,000 views. My Season 7 premiere review got over 700,000 views. Fast forward to my Season 9 premiere review? 125,000 views, and a steady drop in views ever since.

This isn’t just people not watching the show the night of, it’s people running for the hills. And it’s come to this because nobody at AMC had the nerve to step in and save the show from its incredible mismanagement, terrible writing and lousy direction. I’m not sure where all the blame should sit, and I’m sure fingers could point in many directions, but it’s still baffling just how bad it got, and how much better it’s gotten thanks to Angela Kang’s new leadership.

Another actor present at the convention was Josh McDermitt who plays Eugene and who, as insane as this sounds, probably had the most interesting arc in Season 8, mostly demurred: I disagree, only because Im still on the show and like my job, he said.

Perhaps the most important quote from Cudlitz, or at least the one that speaks to me the most, is this:Its like one of those things where youre so into something and then youre like, really, guys? Cudlitz said. I get pissed off because I love it.

I’ve received so much anger and hate fromThe Walking Deadfans who said that I was trying to ruin their beloved show, when the whole time I was the one raising the red flags, saying “Really guys?”because I am a fan.I am a critic, yes, and it’s my job to point out when a show goes astray like this. I feel like finally in Season 9, many of my criticisms of the show have finally been heard and we’ve seen a remarkable uptick in quality. That’s fantastic! (Though now I’m being accused of having turned into a shill or, worse, a taking bribes to say nice things about the show because that’s the sad truth about fandom. If you say something critical you’re a monster and if you say something nice you’re a patsy. Oy vey.)

In any case, bravo to Michael Cudlitz for speaking out. I still wish he’d been the choice for theFear The Walking Deadcrossover, but I think he dodged a bullet there. Or a bat, as the case may be.

As a side note, I think Rick getting killed at the beginning of Season 7 would have been an amazing creative decision and would have, potentially, made for a much more interesting story arc for all involved. Oh well.

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Christopher Lee Dies at 93; Actor Breathed Life Into …

Exactly 30 years later, he had become so well known in the United States that he was asked to host Saturday Night Live. He declined to play Dracula in a sketch, but he did appear as Mr. Death, a cultured gentleman in a black hooded robe carrying a scythe. In the part, he comes to apologize to a little girl (Laraine Newman) for taking her dog, Tippy. Mr. Death refuses to take the blame for the crucifixion of Jesus, however (No, the Romans did that), and, alluding to the mortality tale The Seventh Seal, mentions in passing that Ingmar Bergman makes movies Ill never understand.

Mr. Lee lived in Switzerland and in California for many years before returning to his native England. He was made a Commander of the British Empire in 2001, knighted by Prince Charles in 2009 and made a Commandeur de lOrdre des Arts et des Lettres by the French government in 2011.

In the 1990s, he embarked on a singing career with concerts and recordings, including arias, show tunes and, in 2010, what he characterized as symphonic metal with the album Charlemagne: By the Sword and the Cross. A follow-up album, Charlemagne: The Omens of Death, was released in 2013. Mr. Lee had hoped to study at the Royal College of Music but was rejected, in his 30s, as too old.

Mr. Lee continued acting into his 90s. In 2012, when he turned 90, he appeared in Tim Burtons Dark Shadows and the first of Peter Jacksons Lord of the Rings prequels, The Hobbit: An Unexpected Journey, reprising his role as Saruman. He played Saruman again in The Hobbit: The Battle of the Five Armies, the third Hobbit movie.

In 1961, Mr. Lee married Birgit Kroencke, a model who later acted under the name Gitte Lee. They had a daughter, Christina.

Mr. Lee often said that he identified with Count Dracula, because they were both embarrassments to an aristocratic family. In Lord of Misrule, he expressed sympathy for his famous horror characters.

In my mind Dracula, the Mummy and Frankensteins monster are driven figures, unable to help themselves, eventually out of control like a runaway train, he wrote, and consequently very much alone.

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Papergreat: RIP, Sir Christopher Lee, champion of literature

He was Dracula and Dooku. He was Saruman and Scaramanga.

But actor Christopher Lee, whose death Sunday at age 93 was announced today, was much more than just fangs, blood and bad guys.

Please dont describe me in your article as a horror legend,” he asked a reporter for The Telegraph in 2011.

So, setting aside the cinematic creatures of the night, here are some bookish things you might not have known about Christopher Lee:

1. He was fully or partially fluent in English, Italian, French, Spanish, German, Swedish, Russian, Greek, and Mandarin Chinese.1

2. Lee once met educator and ghost-story author M.R. James (1862-1936). The Book of Ghost Stories, an early 1980s volume dedicated to James’ works, includes a short tribute to James, penned by Lee. An excerpt:

4. Lee once met J.R.R. Tolkien and was a serious fan and scholar of The Lord of the Rings trilogy. It has been reported that he “was such a mammoth Tolkien fan that he re-read the fantasy books every year without fail.” In a 2010 interview with Lawrence French of Cinefantastique, Lee said:

6. Lee shared the same birthday (May 27) and a friendship with Vincent Price, another horror icon who had so many interests beyond vampires and ghouls. Price published books about cooking and antiques, and Lee had a music career that spanned opera and heavy metal, with some history of Charlemagne woven in.

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Christopher Lee Designs & Apparel – 30 Photos – Printing …

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Dracula ants set record for fastest animal movement: Study

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The ant, also known asMystrium camillae, can snap it’s jaw at speeds up of more than 200 mph, according to a report inRoyal Society Open Science.

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The mandibles of the Dracula ant, Mystrium camillae, are the fastest known moving animal appendages,, according to a new study.(Photo: Adrian Smith)

An insect known as the Dracula ant has set a record for having the fastest-known animal appendage.

The ant, also known asMystrium camillae, can snap its jaw at speeds up to more than 200 mph, according to a report published in the peer-reviewed journalRoyal Society Open Science.

The quick motion is made when Dracula ants press the tips of their mandibles together, spring-loading them like a human snapping fingers.University of Illinois animal biology and entomology professor Andrew Suarez, who was involved in the research, said this motion is used to stun prey before it is brought back to the ant’s nest and eaten.

“Scientists have described many different spring-loading mechanisms in ants, but no one knew the relative speed of each of these mechanisms,” said researcherFredrick J. Larabee, a postdoctoral researcher at the Smithsonian National Museum of Natural History.

The research team used special cameras and X-ray imaging to track the ant’s movements in 3D.

Dracula ants are fairly rare,Larabee told USA TODAY, and live inunderground in forests in Southeast Asia and Northern Australia.

They plan to further study how Dracula ants capture prey and defend their nests.

Follow Ashley May on Twitter: @AshleyMayTweets

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Zombie | Wookieepedia | FANDOM powered by Wikia

Zombie[Source]

A zombie, also referred to as an undead, was a corpse revived through supernatural means such as Dathomirian witchcraft. Completely will-less and speechless, zombies were controlled by those who had summoned them in the first place. The Dathomirian Nightsister called Old Daka knew a magic chant that could produce zombies. During the Clone Wars, Daka used that resurrection spell to revive a group of corpses from a neighboring graveyard. That Army of the Dead participated in a battle to repel the Separatist forces led by General Grievous.[4]

Through the use of parasitic brain worms, a Geonosian queen could also reanimate and control corpses. While in search for Archduke Poggle the Lesser, the Jedi Master Luminara Unduli and trooper Buzz faced a group of dead Geonosian warriors controlled by Queen Karina the Great.[2]

Yodaencountered multiple undead Sith Warriors on Moraband during his mission there. They appeared to be incapable of harming him physically.[7]

Rather than producing immortality, Project Blackwing accidentally produced a virus that transformed humanoids into cannibalistic undead. The virus had some ability to communicate with itself, allowing it to slowly learn how to operate machinery and weapons. At some point, the virus infected a number of Imperial stormtroopers, transforming them into a hostile army of Undead Troopers.[3]

Nightsister undead reanimated by magic

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Zombie | fictional creature | Britannica.com

Zombie, undead creature frequently featured in works of horror fiction and film. While its roots may possibly be traced back to the zombi of the Haitian Vodou religion, the modern fictional zombie was largely developed by the works of American filmmaker George A. Romero.

Although the word zombie has been applied to different types of creatures, they generally share a few defining characteristics, perhaps most importantly a lack of free will. Zombies are usually wholly subordinate, either to an outside force, such as a sorcerer, or to an overwhelming desire, such as the need for human flesh or revenge or simply to do violence. Another important distinction made by some is that a zombie is the animated corpse of a single being, usually a human. Zombies are frequently depicted as shambling and rotting, although in some instances their bodies may be preserved, especially when magic is involved, and they may sometimes display superhuman characteristics, such as increased strength and speed.

Zombies may be created in a variety of ways. Early depictions, drawing from Haitian Vodou, often represented witchcraft as a means for reviving corpses. Haitian zombi are said to be created by maleficent priests or sorcerers for the purpose of doing their bidding. There are two potential parts to the Vodou process: first, a zombi astral is created by removing part of a persons soul. Then this part of the soul may be used for further magic, including the revivification of the persons corpse, or zombi corps cadavre. Methods of zombification developed in fiction include radiation exposure and contagion. Especially noteworthy in the latter case is the danger of a so-called zombie apocalypse, in which the eventual zombification of the human population through virulence seems inevitable. Zombies are often depicted as proliferating by killing or infecting othersusually by bitingwho then become zombies themselves.

It is generally accepted that the impulse and drive experienced by the walking dead resides in the brain. Therefore, removing the head or otherwise destroying the brain-body connection will stop them. Because zombies are in most cases already deceased, it is usually deemed impossible to kill them by conventional methods such as gunshot, poisoning, or stabbing, unless the brain is damaged or destroyed. In instances where zombification is caused by magic, a zombie may potentially be stopped by the death of its master.

The word zombie itself entered the English lexicon in the 18th or 19th century, often attributed to British writer Robert Southey, although the idea of the walking dead had existed in various cultures for centuries. The idea of zombism in fiction is widely believed to have been galvanized by the nonfiction book The Magic Island, a travelogue of Haiti by William Seabrook, first published in 1929, which detailed his observations of Vodou zombi. Three years after The Magic Islands publication, the first feature-length zombie film, White Zombieinspired by the book and by a stage play called Zombiewas released. In it a lovesick man conspires with a sorcerer (played by Bela Lugosi) to turn the object of his affections into a zombie just after she weds someone else, so that he may have control of her. The woman dies and is given a funeral but later rises from the dead through the powers of witchcraft. More Vodou-influenced zombie films followed, including a loose sequel to White Zombie called Revolt of the Zombies (1936), King of the Zombies (1941), and I Walked with a Zombie (1943). As the United States entered the atomic age, zombie and alien stories began to merge, as in the infamous Ed Wood-directed cult film Plan 9 from Outer Space (1959) and Invisible Invaders (1959), in which aliens attempt to enslave the dead. By the 1940s zombies had also become a regular feature in comic books and pulp magazines, and it was in these media that they came to be depicted as rotting corpses rather than preserved ones.

A major turning point in zombie lore came with American filmmaker George A. Romeros Night of the Living Dead (1968). This low-budget filminspired in part by I Am Legend (1954), a novel by Richard Matheson that depicts vampires driven solely by a desire for bloodsolidified the zombie concept that would persist for decades. The film revolves around a farmhouse full of people under attack by the walking dead, risen by vague means involving radiation. Romero intended the film to be more of a social commentary than a monster movie, and the narrative centres on the inability of the living to cooperate to save themselves from the undead threat. Ironically, the word zombie was not uttered in Night of the Living DeadRomero himself was not influenced directly by Haitian folklore, and the creatures were simply referred to as ghouls or flesh-eaters.

Romero revisited both his ghouls, now known as zombies thanks to fans, and his social commentarythis time about the ills of consumerismwith Dawn of the Dead (1978), in which a handful of living people attempt to escape the undead by hiding in a shopping mall. He followed up with a number of related films over the next several decades: Day of the Dead (1985), Land of the Dead (2005), Diary of the Dead (2007), and Survival of the Dead (2009).

Night of the Living Dead opened the doors for hundreds of zombie appearances in the years that followed, especially in the 1980s. These included an unauthorized Italian sequel to Dawn of the Dead, Zombi 2 (1979; also released as Zombie), and many more Italian zombie films that followed in its wake. In the United States the popular film Friday the 13th, which featured the zombielike villain Jason Voorhees, hit screens in 1980. In 1983 Michael Jackson released the video for his song Thriller, a horror-filled romp that featured dancing zombies. Zombie comedy began to gain steam, and humorous zombie films such as Night of the Comet (1984) followed. Romeros Night coauthor, John Russo, worked on the first in a series of spin-offs of their seminal work, The Return of the Living Dead, which was released in 1985 and in turn spawned a number of sequels. In addition to being a popular zombie comedy, Return contributed the hunger for human brains to zombie lore.

Although the 1990s produced a remake of Night of the Living Dead (1990) and director Peter Jacksons humorous gore-fest Braindead (1992; also known as Dead Alive), the decade was perhaps most notable for bringing zombies to the forefront in video games. In 1996 the first game in the Resident Evil series (also known as Biohazard) debuted, in which protagonists attempt to navigate a zombie apocalypse caused by a virus. Several sequels were released for various game consoles, as well as a series of films based on the games. The House of the Dead, a light-gun arcade game, was released the following year. It also spawned several sequels and a big-screen adaptation in 2003. The popularity of zombie video games also contributed in part to the rise of Asian zombie films, including Hong Kongs Bio-Zombie (1998; Chinese: Sun faa sau si) and many more in Japan.

About the turn of the 21st century, zombies experienced a boom in popularity. Zombie books began to appear more and more frequently, with author Max Brooks releasing both the tongue-in-cheek The Zombie Survival Guide: Complete Protection from the Living Dead (2003) and the best-selling apocalyptic novel World War Z: An Oral History of the Zombie War (2006; film 2013). Horror icon Stephen King even published a zombie novel during this time, Cell (2006). Also of note was Seth Grahame-Smiths Pride and Prejudice and Zombies (2009), which took Jane Austens public-domain text and added a horror-spoof twist, and the comic book series The Walking Dead, which began in 2003 and was adapted for TV in 2010. Zombie films and video games continued to gain popularity, with the zombie menace shifting from a shambling mob to rage-filled sprinters in Danny Boyles apocalyptic 28 Days Later (2002; followed by 28 Weeks Later [2007]) and Zack Snyders big-budget remake of Dawn of the Dead (2004) and in video games such as Dead Rising (2006) and Left 4 Dead (2008), both of which were followed by popular sequels. Zombie comedy also experienced a revival, with self-proclaimed British rom-zom-com (romantic-zombie-comedy) Shaun of the Dead (2004), which lampooned aspects of the zombie genre, paving the way for comedies such as Fido (2006), Dead Snow (2009; Norwegian: Dd sn), and the box-office hit Zombieland (2009).

In the 21st century zombies came alive off the big screen and off the page. Large cities around the world were taken over by zombie walks, mobssometimes spontaneously organizedof people in zombie costume; some people offered zombie fitness classes or materials, through which participants learned skills that would purportedly help them survive a zombie apocalypse; and even the Centers for Disease Control and Prevention posted a zombie preparedness article in their public health blog to generate buzz about disaster preparedness in general. With zombie entertainment spanning from plays to video games to screens big and small, it was clear by this point that the zombie menace was impossible to suppress.

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