Browsing Category

Dawn Keetley

Posted on October 6, 2015

No, Conservatives Can’t Have The Walking Dead!

Dawn Keetley

In his recent article in The National Review, “In the Zombie World, Only the Conservatives Survive,” David French argues that zombie fiction (notably AMC’s The Walking Dead) “may be the most conservative fiction of all.”[i] I disagree.

French predicates his case on three claims: (1) in zombie fiction, the government is incompetent and almost immediately collapses; (2) you’ll only survive if you have a gun and know how to use it; and (3) people end up being the most dangerous animals of all in the post-apocalyptic world.

First of all, the points French makes certainly have some truth to them, but they offer only a partial view. First of all, conservatives can be as enamored of the government as any liberal—to the extent, of course, that government embodies conservative values. (Kim Davis, the Kentucky country clerk who’s refusing to sign marriage licenses for gays and lesbians comes to mind here.) Liberals and conservatives each love their own particular incarnations of the government. If anyone’s going to be dancing when the government inevitably collapses, it’ll be the libertarians.

Secondly, yes, you need a gun (or a katana or a cross-bow) in the zombie apocalypse. But, as the NRA loves to remind us, guns don’t kill people, people kill people—and having a gun, and surviving with it, always depends on who you are and who you’re with. As The Walking Dead and every single zombie fiction repeatedly shows us, there is strength in numbers: you survive only with a group. Yes, humans may be dangerous (French’s third point), but humans are also their own salvation, and the people you choose to ally yourself with are the single most important predictor of survival. More important than guns, in short, is community.

Read more

Posted on September 28, 2015

White God (2014): Dogs Fight Back

Dawn Keetley

Summary of White God: Thirteen-year old Lili (Zsófia Psotta) moves in with her father who proves unwilling to pay the fees incumbent on the owners of mongrel dogs. He thus forces Lili to abandon her beloved Hagen on the streets of Budapest. The film follows the dual paths of Lili and Hagen as they, finally, find their way back to each other.

I loved White God (I’ll get that out up front), which premiered at the 2014 Cannes Film Festival and recently become widely available in the US (on DVD and streaming on Netflix). White God is a particularly interesting intervention in the horror genre in that it is the only film I can think of in which the animal (Hagen) becomes the protagonist rather than the antagonist. In all the other natural horror films I’ve seen recently, animals (wolves, sharks, crocodiles, bears) threaten more-or-less sympathetic humans. White God stands alone in showing how profoundly humans threaten animals.

Read more

Posted on September 20, 2015

AMC’S FEAR THE WALKING DEAD, “The Dog”: The Sad Fate of Animals in the Zombie Apocalypse

Dawn Keetley

AMC’s Fear the Walking Dead has aired three (of six) episodes so far and I’m happy to say it’s getting better. (See my less than positive review of the pilot episode.)

Basically, the show’s improved because the characters are coming to grips with the apocalypse and, as a result, are doing much less lounging around and whining about trivial things. We’re starting to see that fundamental divide opening up between those who can handle what’s happening and those who are living in denial—the divide, in other words, between the strong and the weak, between survivors and potential zombie food. Madison (Kim Dickens) is emerging as a leader, someone who can kill a walker when she has to. As is the enigmatic Daniel Salazar (Rubén Blades), a refugee from El Salvador who projects an uncanny sense of “Been there, done that.” He gets to deliver the last, inscrutable, line of the episode. Looking out the window at the soldiers putting an X on the house across from him, he declares, for reasons that aren’t entirely clear: “It’s already too late.” Madison’s partner Travis (Cliff Curtis), on the other hand, seems unable to kill the undead (claiming they’re only sick) and, in contrast to Salazar, his last words are: “Cavalry’s arrived. It’s gonna get better now.” We know which one of them is right.

Read more

Posted on September 17, 2015

Backcountry (2014)

Dawn Keetley

Summary: In Adam MacDonald’s Backcountry, A couple, Jenn (Missy Peregrym) and Alex (Jeff Roop) go camping in the woods. They encounter a bear.

If you want to see a truly terrifying film, forget going to the theater to see M. Night Shyamalan’s The Visit. Spend the money on Backcountry, a 2014 Canadian film that opened in the US in March 2015 and was recently released to video on demand through services like Amazon and itunes.

I was transfixed by this film: it’s simple (deceptively so), beautifully filmed, well-written and acted, and will grip you from beginning to end.

One of the brilliant things about the film is that while it is, on the one hand, thoroughly grounded in the real world—no monsters, nothing supernatural—it is nonetheless steeped in the horror film tradition. Indeed, it brings the naturalistic world into the realm of horror so unobtrusively that you don’t realize what’s happening on first viewing—and so you don’t know exactly why you’re so uneasy when the characters go swimming, when they walk through the woods, when they hear acorns falling.

Read more

Posted on September 11, 2015

127 Hours: Geological Horror

Dawn Keetley

Animal and even plant horror are familiar categories: you can find entries for horror films featuring mammals, reptiles, amphibians, insects, birds, and plants, for instance, on Wikipedia (check out the List of Natural Horror Films). So far, however, you’ll be hard-pressed to find anything about geological horror. So where are the horror films about rocks and minerals? (That’s not a rhetorical question: if you know of any, please let me know!) My main purpose in this post is to suggest a candidate for the horror genre that features a boulder. The film is 127 Hours (2010), directed by Danny Boyle of 28 Days Later (2002) fame. It depicts the (real) ordeal of Aron Ralston (James Franco), whose arm becomes trapped by a boulder as he’s climbing in Blue John Canyon in Utah: as the title suggests, he spent 127 hours in the canyon before freeing himself by amputating his arm and stumbling across the desert to find help.

There are, of course, a multitude of films about natural disasters (tsunamis, volcanoes, earthquakes, avalanches etc.), but these films tend not to be horror films (they’re routinely classified as action)—and natural disasters are typically not exploited in the horror genre—except sometimes as plot devices to trap characters in places where they have to face other monsters. 127 Hours is a horror film. The film is not wholly horror; indeed, it swerves away from horror near the end. But in and by that swerve it demonstrates what actually makes a horror film (and what doesn’t).

Read more

Back to top