Review: 2015’s “Maggie” is a Midwestern Drama with Zombies
I think that one of the reasons that people find the zombie genre is so popular is because it’s so relatable. In every point of history, there has been a very legitimate fear of infection, and of becoming part of a huge mass of the unidentified/unnamed/unclaimed waste left in its aftermath. It’s a terrifying thought to have to watch your body rot and decay into something inhuman before your own eyed. Just as there’s a complex horror of being swallowed into an unmarked mass grave, full of other rotting husks of unknown strangers.
And of course, the more bureaucratic nightmare of quarantine – the loss of control over one’s freedom, autonomy and body. The isolation of being a number in a system, a statistic to be glossed over in news reports, or worse, totally neglected by the system built to serve and protect you as a citizen.
At the time of this review, the world is rocked by the Corona virus. Clips of videos and pictures on the internet show people being removed in hazmat protection, portions of cities blocked off for quarantine, and countless people reacting to fake or real bouts of public sickness. Borders have been closed. PPE has been sold out completely online.
Before that was Ebola, H1N1, SARS, Bird Flu, Hantavirus, The Spanish Flu, Tuberculosis, Rabies, Leprosy, The Black Death…
And, something more akin to this movie – the HIV/AIDS epidemic. But before we get into all that…
The Plot:
Maggie, played by Abigail Breslin, has just been given a death sentence – she’s been bitten by an infected person and is now positive for a disease that’s been ravaging the entire US. After trying to run away, she is picked up by her father and taken back to their house in the quiet countryside to await her fate. She’s given only a few weeks to spend with her family before being forced to suffer her final days isolated in quarantine.
During her time at home, she must come to accept her mother’s past death, learn to forgive, and face her mortality while losing her agency and body in the process as she becomes sicker. She experiences the fear and ignorance of even her closest loved ones as she becomes less and less of Maggie and more of something else entirely…
The non-spoiler reveal:
There’s no way around this: Arnold Schwarzenegger plays her dad.
It’s…unfortunate and, frankly, jarring to see older Arnold play a Midwestern farmer and father to a young twenty-something (and father to even younger children). And it’s not to say that he doesn’t try in this film, because he does.
And he does a good job at acting, but what probably drew a lot of people to watch this movie (me included) was what ended up hurting it – it’s an Arnold Schwarzenegger zombie movie at the end of the day. No matter how it’s packaged, that’s what’s going to stick in people’s minds and when this slow-burn drama starts unfolding, it’s…well…
(snob glasses affixed) In “Genre And The Invention Of The Writer”, especially when examining Foucault’s “author-function”, Anis S. Bawarshi said:
“The author-function does not refer to the ‘real’ writer, the individual with the proper name who precedes and exists independently of the work. Instead, it refers to the author’s name, which, in addition to being a proper name, is also a literary name, a name that exists only in relation to the work associated with it. The author-function, then, endows a work with a certain cultural status and value. At the same time, the author-function also endows the idea of ‘author’ with a certain cultural status and value.” https://www.jstor.org/stable/j.ctt46nxp6.5
“The author-function delimits what works we recognize as valuable and how we interpret them at the same time as it accords the status of author to certain writers” https://www.jstor.org/stable/j.ctt46nxp6.5
I know, you’re thinking, ‘But Brannyk, doesn’t that work in favor of the movie? The reason that we’re talking about the movie right now is because of Arnold “Put That Cookie Down” Schwarzenegger? And also, what happened with the HIV/AIDS talk?’
We’ll get to HIV/AIDS in a minute. First, yes, Arnold and Abigail Breslin’s (but we know it’s Arnold) capital is what drew people in. In fact, that reliance on his capital was incredibly faulty direction that the marketing took – relying on (and exaggerating) the scarce action scenes of the movie. They even went as far as to hype the movie with the most ridiculous tagline: “Don’t Get Bitten” as a way to sell Action-Arnold, and not Midwestern old-dad Arnold.
It’s no wonder that, while it fared well with critics, it bombed hard, not even making back its budget (which probably mostly went to the salaries for the actors, as there was limited effects and locations).
And it’s a shame because “Maggie” is a fresh take on an old trope. And so, patient reader, we get to HIV/AIDS.
Brain Roll Juice:
“Maggie” is not the total chaos and calamity of most zombie outbreak movies. It’s an epidemic, yes, but as we see government-issued brochures given to Maggie, as we hear NPR news reports, and boring, routine doctor visits – this is not a collapsing society situation. Yet, there’s fear and prejudice against those infected. There’s ignorance. Some of it is rational – they are living in the country, where everyone knows everyone and resources are reserved for the larger cities. Maggie is seen as a victim, a carrier, a ticking time-bomb, a troublemaker, and an innocent child.
During her own time of accepting her virus and fate, friends and loved ones try understand how this change will affect them – some say goodbye, some turn away, and some give into prejudice and ignorance.
Throughout the movie (whether intentional or not) the interactions with the community, the government’s awkward involvements, and the sickness itself (not the cannibalistic part, though, duh) is reminiscent of the HIV/AIDS epidemic of the 80’s-90’s. Maggie as a “carrier” of a deadly and mysteriously disease that is clumsily handled by government officials and little understood by the general public pulls a lot from history. We see Maggie losing agency, little by little, with her choices and her own body as she is slowly succumbing to the virus. We see more government intervention by way of law enforcement and medical staff, even when trying to help her. We see her own friends misunderstand her and the community at the brink of hysteria.
In fact, when questioned about the school re-opening and asked whether he would send his child to school with a child with the disease, the mayor of the town had this to say,
“I’m glad I’m not faced with that problem today, and I can well understand the plight of the parents and how they feel about it. I also have compassion, as I think we all do, for the child that has this and doesn’t know and can’t have it explained to him why somehow he is now an outcast and can no longer associate with his playmates and schoolmates. On the other hand, I can understand the problem of the parents. It is true that some medical sources had said that this cannot be communicated in any way other than the ones we already know and which would not involve a child being in the school. And yet medicine has not come forth unequivocally and said, ‘This we know for a fact, that it is safe.’ And until they do, I think we just have to do the best we can with this problem. I can understand both sides of it.”
Just kidding. That was Reagan in ’85. A full two years before forming the President’s Commission on the HIV Epidemic in ’87. And that was after AIDS was named in ’82 and HIV identified in ’82.
Any who, what I’m getting at is that there are similarities that make this a familiar ride in an old trope that I found refreshing, surprisingly rewarding and genuine. While I hope this nod was deliberate, the zombie virus itself pays homage to very real and very deadly diseases in our world as I stated before and while the scary zombie move is fun, this was a good stroll into what other facets the zombie genre could tell. Familiar stories. Heartbreaking stories. Vulnerable stories of communities trying to recover and survive; families learning how to deal with loss and say goodbye; and victims finding agency (in small or big ways) within their suffering and their final moments.
Bottom-line:
A slow drama with Arnold Schwarzenegger and zombies. If you feel like you’re up to that, give it a go.
(3 / 5)
Movies n TV
The Dangers of On-Site Research for Actors, or Devil’s Workshop
Written and directed by Chris Von Hoffmann, Devil’s Workshop is a horror drama released in 2022.
Written and directed by Chris Von Hoffmann, Devil’s Workshop is a horror drama released in 2022. This R-rated film stars Radha Mitchell, Timothy Granaderos, Sarah Coffey, and Emile Hirsch. As of this review, it’s available on Freevee.
Clayton (Timothy Granaderos) is a struggling actor on the verge of the biggest role in his life. After receiving a callback, he takes this opportunity seriously, seeking out a real demonologist to better understand the role. However, Eliza (Radha Mitchell) forces him to experience the spiritual… and the demonic.
What I Like About Devil’s Workshop
The chemistry between Eliza and Clayton remains the highlight of the film. Radha Mitchell’s Eliza evokes a mystique that makes it easy to believe Clayton’s desire to learn more. Timothy Granaderos’ Clayton captures the character’s insecurities while giving just enough for viewers to sense something deeper.
Devil’s Workshop seems to accomplish much with a limited budget. The special effects (though limited) work surprisingly well. While it wouldn’t be an issue if it indulged in camp, Devil’s Workshop seeks to elevate its horror without undermining the tone.
As the plot unfolds, there’s just enough reason to rewatch the film and catch some of the groundwork leading to that conclusion. I am surprised at how well the film holds up in this regard, keeping the viewers engaged despite a slower burn.
There’s something genuinely haunting about the ending, as Clayton’s backstory and the demon’s manipulation synergize to make a few disturbing scenes. The success of this synergy stems from the odd relationship that Eliza and Clayton develop within the film, becoming confidants to drastically different ends.
Tired Tropes and Triggers
Clayton stands at a particularly low point in his life, working through his unresolved family issues and feeling like a failure. This insecurity leads to Clayton’s troubles.
A sexual assault occurs between a female assaulter and male victim. Unlike many films that explore this subject matter, this assault isn’t a tool for a cheap laugh. However, beyond the cruelty of the act, it isn’t explored to any degree beyond the shock and horror of the act.
What I Dislike about Devil’s Workshop
Emile Hirsch’s Donald plays a rival to Clayton, but the performance lingers on camp. Making the character more jarring, he leads a subplot with little value to the story. While I understand that Donald acts as a foil and antagonist, he’s rarely pitted against Clayton. Instead, he takes away from the actual plot.
Another potential reason for this subplot is to allow Sarah Coffey’s Nikki to shine. As a friend to Donald, the character makes his subplot tolerable. However, it still provides no substance to the plot. It seems like a massive misstep to waste her talent as a side character on an irrelevant deviation.
If the above issues suggest a desire to expand the film’s runtime, exploring the occult themes in Devil’s Workshop would better serve the plot. Devil’s Workshop works best when following its demonic lore and rituals, so why not dive further into the diabolical? Clayton sought to study a demonologist for the role, and demonology remains a lightly explored topic.
The mix between campy and more serious performances doesn’t create a cohesive film. Perhaps these campier scenes bring levity, but the film doesn’t linger in its darker material long enough to require these intermissions.
Final Thoughts
Devil’s Workshop provides a disturbing horror within a tight runtime, requiring little to earn its investment. The low budget shows in places but rarely where it matters most, pulling off a traumatizing ending to earn its place. While it’s far from the most terrifying film, it’s an unnerving watch for those interested. The one issue I return to is this odd subplot following a pointless character. (3 / 5)
Movies n TV
Continuing the Terror of Evil with “The Demon of Memes”
“The Demon of Memes” is the second episode of Evil’s season 3, created by Michelle King & Robert King available through Netflix & Paramount+
“The Demon of Memes” is the second episode of supernatural drama Evil’s season 3, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate another urban legend following the mystery of Wandering Jack. David (Mike Colter) receives a task from the friends of the Vatican. Lynn (Brooklyn Shuck) learns that a friend might be in danger from Wandering Jack. Andy (Patrick Brammell) gets an offer he can’t refuse.
What I Like about “The Demon of Memes”
David’s montage at the beginning of the episode truly evokes the monotony of his duties, requiring little telling to show us what’s making him disillusioned. It’s not revolutionary, but it’s an effective tool.
“The Demon of Memes” establishes a key conflict in David’s duties as the “friends of the Vatican” plan to use him to various ends. That directly leads to Brian d’Arcy James’ return as Victor LeConte. James brings an uncertainty of motives reminiscent of Michael Emerson’s Leland. While not villainous, LeConte provides a dangerous manipulation to each task, obscuring his motives.
LeConte’s discussion of human evil evokes the heart of the series. Evil suggests some ambiguity in the supernatural element (less so as the series progresses), but it hardly makes the results different. Evil exists, regardless of demonic origin. I appreciate this added complexity, even if I prefer the tension and spectacle of the supernatural elements.
While I’m not always satisfied with how Evil handles Andy, the character works well in “The Demon of Memes.” As the audience learns of the true scheme, tension builds as Andy moves closer to success. Beyond this tension, Andy and Kristen (Katja Herbers) make genuine strides in their relationship.
Sheryl’s (Christine Lahti) new occupation remains a pleasant delight, equal parts cartoonishly evil and believable. Perhaps it’s the dark tone of the series, but it feels like an obvious extension of the antagonism Evil creates, requiring an absurd amount of work to make the world slightly more miserable.
While “The Demon of Memes” doesn’t evoke a haunting fear, it builds tension as a clear direction unfolds. In terms of direct horror, the episode focuses on a Slenderman-like urban legend. While it’s not particularly scary, seeing this legend through Lynn’s eyes earns more weight.
Tired Tropes & Triggers
Nothing particularly stands out as concerning or evocative. David’s (now Father Acosta) lack of fulfillment and desire for a more active role in fighting the supernatural might rub some the wrong way. But that’s largely the premise of the show.
The name “The Demon of Memes” remains inaccurate. Unlike “The Demon of Death,” this episode doesn’t provide an alternative to dissect. Another nitpick is that the “demon” in question isn’t of “memes” but of “urban legends.”
What I Dislike about “The Demon of Memes”
Aside from the lack of proper horror, I don’t particularly have an issue with “The Demon of Memes” I find worth mentioning. The names don’t yet match the demon of focus, but that’s a minor point that doesn’t directly address the writing, scenes, or acting, which remain strong.
If there’s one issue to pull, “The Demon of Memes” focuses more on what’s to come. In fact, the content suggests a season premiere more than “The Demon of Death.”
Another more relevant point is the underwhelming procedural plot. It’s not bad; however, the Wandering Jack pales in comparison to its inspirations (such as Slenderman).
Final Thoughts
“The Demon of Memes” sets a strong foundation for the future. While it doesn’t haunt the viewer as much as other episodes might, it builds a dire future development with the dark humor Evil thrives. In some aspects of the development, This episode feels more like the season premiere than the second episode.
(3.5 / 5)
Episode of Dexter, Original Sin felt very much like an episode of the original series. And I mean that in the best way possible.
The story
This episode picks up where the last one left off. Dexter is coming down from his post kill high, and looking for another victim. He finds one in Tony Ferrer, a violent loan shark who murdered an innocent woman over a loan taken out by her son.
While Dexter does his due diligence, Deb deals with high school girl problems. She wants to be the captain of her volleyball team. But as with most things in high school, this is a popularity contest. To get a leg up on her opponent, she tells the team that she can score cocaine for a movie night at her house. Dexter agrees to help her if she can get Nurse Mary’s earrings back from her friend Sophia. He makes homemade cocaine with a recipe I’ll not be listing here.
Don’t do this, kids. This is how teens (and people in their twenties) die.
The episode finishes with Dexter catching his prey, first menacing the loan shark with jai alai balls. These balls move so fast that Dexter manages to cut Ferrer’s cheek in a way that will be very familiar to long-time viewers.
What is not familiar is Dexter’s means of body disposal. While I was thrilled to see Ferrer fed to the alligators (they are big swamp puppies and deserve a good meal) they don’t always eat a whole body. And part of Ferrer remains, floating to the surface. So that’s two kills so far, and two obvious pieces of evidence left behind.
What worked
This episode shone because of the attention to detail. For instance, when Masuka makes Dex a fake ID, he could have put any name there. He could have put Joseph Smith or Jack Torrance. Instead, he picks the name Patrick Bateman. Of course, this is the main character of the astounding novel American Psycho. But they also chose a famous psycho who just happens to have the same first name as our actor. It’s just that extra level of thought that makes it so much richer.
I also love, but also hate, that Deb’s friend Sophia has a crush on Dexter. She seems like a good young woman, a loyal friend to Deb, and just a kid with her head on straight. And, well, we know what happens to women who get involved with Dexter. RIP, Rita. I hate to say it, but I don’t predict that Sophia will survive the series. And that anticipation makes every scene with her in it more tense.
We were also introduced to one of the original series characters that had been missing, Maria LaGuerta.
LaGuerta was a mixed bag for me in Dexter. She was certainly using her position of power to sexually harass Dexter and abuse Deb. She also seemed more concerned with climbing the political ladder than actually helping people.
I actually loved LaGuerta’s story arc through the series, because we saw her go from this selfish, politically motivated person to someone who legitimately puts herself in harm’s way to protect people. She goes from being Deb’s personal antagonist to her pseudo-mentor. So, I am thrilled with the way she’s being portrayed in Original Sin.
Yes, LaGuerta is more than willing to jump in front of a camera and run her mouth if it’ll help her get something she wants. But what she wants is for people to actually care about victims who don’t happen to be white. What she wants is to be in a position of power so she can start changing things for the better.
Which is fantastic! I can’t wait to see what she does.
Finally, I want to shine some well-deserved light on Patrick Gibson. He must have watched every episode of Dexter as many times as I have because he has Michael C. Hall’s physical mannerisms down pat. The way he moves is so similar, it’s uncanny. And that is a wonderful touch that I cannot help but admire.
What didn’t work
The only thing I didn’t enjoy about this episode was small. In the middle of the episode, Dexter is making dinner for his family. And it’s an almost shot-for-shot rendition of the original intro.
Now, this sort of thing was clever at first. But we’re three episodes in. We can knock it off now.
So far, Dexter Original Sin has been a lot of fun. This episode exemplified why Dexter is so well-loved. A bad person suffers the consequences of his terrible actions.
And I think that’s beautiful.
(4 / 5)
-
Original Creations2 days agoA Wrinkle in Blood – A Chilling Horror Story by Alex C. Telander
-
Book Reviews6 days ago
“Tab’s Terrible Third Eye” by Isaac Thorne: A Haunting Tale of Childhood Trauma and Supernatural Horror
-
Movies n TV5 days ago
Dexter Original Sin, Miami Vice serves justice and alligators
-
Book Reviews6 days agoThe Devil’s Glove: Before the Salem Witch Trials.
