The latest horror series offering from streaming platform Netflix is a variant of the popular 1990s video game, Resident Evil. The franchise has seen several instalments beyond the gaming platform bearing seven feature films and an animated tv series. Fans of the aroe-mentioned game may however, find that this version or re-imagining is a far cry from the platform shoot em up that they have come to love as this alternate view of the world bears little resemblance with the exception of the hidden power and evil pharmaceutical company, Umbrella Corporation.
Where loyal devotees of the franchise will grimace at the bastardisation of their beloved world is mainly through the alterations of some of the characters and the choices to place the central storyline creating a very different beast.
This all said and done, the end result is actually quite entertaining, and while the plotline makes some suspicious turns towards its cliffhanger conclusion. (Hopes of a further season left in the balance of popularity).
The premise is split between two timelines, present day (2022) and 2036. The past timeline is centred primarily on two half-twin siblings Billie (Sienna Agudong) and Jade (Tamara Smart – Are You Afraid of the Dark?), daughters of Albert Wesker. When they are relocated to New Raccoon City, they soon discover that all is not as it seems at their father’s place of work. The more they uncover, the darker their world becomes and the further they begin to stray. Can their loyalty and bloodline stand the test of time?
The future timeline in 2036 follows an older Jade (Ella Balinska), part of an underground movement studying the zombies known as zeroes following the apocalyptic humankind; now reduced to just 300 million people worldwide. The biggest big bad Umbrella Corporation are now a strong militia force and they seem hellbent in finding Jade and bringing her back with them.
There are some nice moments or flashes in the pan that elevate this series on occasion, such as Baxter (Turlough Convery) starts off as a man who is just calling the shots, but proves he’s just as badass when it comes to hand to hand combat. Lance Reddick as Albert Wesker, is stoic and commanding in his role and I’ve been an avid fan of his since The Wire.
The more impactful moments come around through older Jade’s plight in the urban wilderness as she struggles from one unfortunate event to another, in her fight to end her tour and join her family at the University.
The Prognosis:
Yes, it has its flaws and its not exactly highbrow fodder, aimed to strain the cranium to its pull potential. What it does offer is entertainment with some notable good humoured quips along the way. When it resonates, it does so well, but needless to say, there will no doubt be an uprising from the Resident Evil faithful, looking for a more truthful adaptation. There will be rage and anger at this adaptation, but perhaps they should just assimilate to change and accept the Joy on offer.
So I was about 30 seconds into the first episode and I already wanted to punch Sabrina (Kiernan Shipka). It’s not her fault, it’s just one of those faces…I think.
I found the first 2 episodes to be so cheesy. The ‘romance’ between Sabrina and her boyfriend (Ross Lynch) was hard-to-watch, cringey and her relationship with her besties also turned something in my stomach.
I do quite like all the dark witchy stuff, not Disney’s PG crap. Might’ve played a bit too much on Satan for a few viewers but I enjoyed it. It really spoke to the edgy teenage girl inside me. This makes me mad but I actually kinda like the series.
Overlooking the cringe, the shots were quite pretty and the characters actually have a personality, nothing vanilla about them (except maybe Sabrina’s friends and boyfriend). Each episode is different from the last, there’s no sense of repetition. There is an interesting story in every one of them with of course the main plot running throughout, but not solely focusing on that.
I love Salem, however I must admit I miss the old queer talking cat from the original series (he was bisexual I swear). The new cat is completely adorable, don’t get me wrong, and he helps with getting through all the cheese but as he lacks a voice, he also lacks a personality and that’s a shame. I am still grateful he is in the series though, I’m not sure if I could handle it if he wasn’t. Well him and Michelle Gomez. She plays Madam Satan/ Mary Wardwell, and honestly needs to be given more screen time. I don’t need to say much about her, she’s self explanatory; a treasure of modern day TV.
The second season (if there is one) is going to suck, because they always do, but also because I believe the writers are pouring all of their creativity into this season, it’s quite full on. It’s at a pace that would be hard to match, especially if all the main characters have already been introduced and Sabrina has already gotten over her teenage angst. I think next season will completely stray off path and have nothing to do with season 1, or become a knock off of Charmed. Or alternatively, they will just drag on their original story as much as they can for another 12 episodes.
The Diagnosis:
To sum up, for me this series is cheesy, pretentious and I kinda hate it but annoyingly I can’t stop watching it.
Hill House may well have been home for the Crain family, but it also holds the key to a life defining memory. Flashing back and forth between past and present, this haunted house yarn is about the psychological effects of events that lead to them abruptly fleeing a haunted house in the dead of night many years earlier.
“The Haunting of Hill House” is a genre busting ghost story with more levels than the house at its core. Using the Shirley Jackson novel (previously seen as “The Haunting” – both as the 1963 Robert Wise film and the 1999 Jan De Bont film) as its source material, master of horror Mike Flanagan has meticulously crafted a 10 part horror series for Netflix that is as much a traditional gothic horror as it is a story about how a family handles the traumatic stress of a horrific experience none of us could ever imagine. So essentially this is for anyone who wondered what was next for the Lutz family after “The Amityville Horror” or the Freelings post “Poltergeist”.
This is about the PTSD of horror and while they all have their ghosts to reconcile, these ones are literal.
Now this all may seem extremely heavy stuff, but there is still a good old fashioned ‘scare-ya-silly’ ghost story here and believe me it’s a frightening one too. The frights are drip fed when you least expect it and there’s creepiness resplendent too if you just keep your eyes open from behind that cushion.
But what makes this stand out as quite possibly the best horror of 2018 is the well developed characters, the incredible writing, and the heart (or boob) thumping performances. All of the actors throw their all into the work too and it’s evident in such stand out episodes as; “The Bent necked woman” that has one of the craziest WTF moments in horror history and “Two Storms” which is almost theatre. The almost hour long episode of “Two Storms” plays out over five cuts, as the characters all bounce off each other in long, incredibly choreographed 15-23 min takes.
Mike Flanagan has steadily crafted a brilliant career in horror films since his stellar debut film “Absentia”. Over the years he’s reinvigorated a franchise, with the prequel “Ouija: Origin of Evil”, directed a couple of Netflix exclusive films “Hush”, and the brilliant Stephen King adaptation “Gerald’s Game”, and is soon to direct another King adaptation “Doctor Sleep” (“The Shining” sequel). So it’s really no surprise his latest entry is his best…so far. There’s a familiar look to his work, a colour palette of greys and oranges, and a troop of regular actors that include the always amazing Carla Gugino, the outstanding Elizabeth Reaser, and Flanagan’s wife, Kate Siegel, who has her best role yet. Talking of actors, who knew ET’s Henry Thomas and Timothy Hutton looked so alike, here they play the role of Hugh Crain at various stages in his life and my god the similarity is uncanny.
The Diagnosis:
Look, while this is very loosely based on the Shirley Jackson novel, it’s not a direct adaptation in the slightest, but it still has the locked red door, the spiral staircase, and spooky housekeeper Mrs Dudley. This is a fantastically complex gothic horror story for the Netflix generation.
Back in the 90’s there were four TV series you could argue were the flagship shows of that decade.
One was an animated cartoon that (at the time of writing) is still going (although not for much longer if rumours are to be believed). Another two were 4-walled sitcoms set in New York that shared a universe via a 3rd sitcom called Mad About You.
But the 4th was something else. It was about two FBI agents “banished” to a basement chapter of the Bureau called the X-Files. In one of the episodes the male lead talks to the female lead about a real-life case called The Mad Bomber.
Long story short – from 1940 to 1956 George Metesky blew up shit at random locations in New York using homemade bombs. Catching him was next to impossible using traditional forensic techniques, so as a hail-mary cops consulted a criminal psychiatrist.
After analysing the crime scene photos and the taunting letters Metesky had sent to the authorities, the psychiatrist painted a detailed portrait of the sort of man the “Mad Bomber” was.
It encompassed his personality traits, his age, build, even his nationality. It even went so far as to say Metesky was likely a virgin, had an Oedipus complex and should they catch him: “He’ll be wearing a double-breasted suit, buttoned”.
What this psychiatrist had done was create one of the world’s first criminal profiles. And yes, it did eventually lead to Metesky’s arrest. Legend has it he answered the door in his P.J.’s, but when the cops told him to get dressed, guess what kind of outfit he put on…?
So, what does this all have to do with Netflix’s Mindhunter?
Well in the mid 90’s I found myself wandering through a bookstore on George Street when, for some reason, this thick paperback leaped out at me. It was black with silver lettering and it was titled Mindhunter: Inside the FBI’s Elite Serial Crime Unit. I still have it. It was about a relatively new investigative technique called forensic profiling – developed throughout the late 70’s and 80’s. Only now it was about to hit the zeitgeist, and reading about it seemed a great way to load up on what (at the very least) would be an awesome dinner party conversation starter. (This was pre-Wikipedia don’t forget).
So, I bought the book and devoured it cover-to-cover. It cites the story of Metesky and his capture (so it wasn’t just a flight of fancy from Mulder…) before detailing the career of former real-life FBI agent John E. Douglas, and his partner Robert Ressler.
In the 70’s they hit upon the idea to interview notorious and incarcerated serial killers back when the term serial killer had yet to be coined. Initially it was to try and get a sense of the senseless nature of their crimes, but in doing so they found they were unearthing patterns and “reasons of logic” that lay within the world of psychological motivation (as opposed to traditional motivation – eg: I need money, this person has money, I’m going to kill this person to get their money).
This new investigative tool was the stuff of Hollywood dreams. To be able to predict what sort of car a vicious killer drives? What sort of house he lives in? What type of watch he wears and on what wrist? It was Sherlock Holmes but sexier – more mysterious, because it was the “psychic TV detective” come to life!
And I knew about this miraculous thing before all my friends. That is…until about a year or so later when Hollywood (not for the last time) shat on my parade by releasing Millennium and Profiler – two TV series that centred around, you guessed it, a criminal profiler.
My book had gone mainstream. Nowadays the lexicon of profiling is so common, you can’t throw a letter at the various NCIS, CSI’s and SVU’s without it being raised with the general assumption that EVERYONE in the audience knows what you’re talking about.
But back then, it was magic. And the magic of Mindhunter the TV series is that it takes place at a time when profiling can be sexy again. Ie: The time of its birth.
For it is a very dramatized recreation of my black & silver book. Set in the 70’s it follows a young Special Agent Holden Ford (effectively Douglas in this universe) and an older pro Bill Tench (Ressler) as they go about conducting their earliest interviews. They do this very much on their own time amid scepticism & resistance from their fellow agents.
As a series it dips into real life cases & characters when it needs to – it’s portrayal of their very first interviewee Edmund Kemper is both chilling and chillingly accurate in regards to the person I had painted inside my head. To see Ed “come to life” after all these years is a sensation I can’t begin to describe.
Yet other elements – usually to do with the home lives of the two leads – are the stuff of typical TV drama. As a series its rhythm is hard to describe. It’s not a serial killer-of-the-week cop show by any stretch, yet it’s not a straight up dramatization of “real-life events” with all the oblique plotlines that can go with such a story.
What it certainly is, is compelling. Well set up for a 2nd season, you will be skipping the end credits big time to get to the next episode.
As a Douglas avatar, Ford – played by Jonathan Groff – will go through an interesting evolution in subsequent years (should the series go beyond 2) mainly because when profiling entered the world of popular media both Douglas and Ressler (by all accounts) had a huge falling out over credit.
Undoubtedly Mindhunter the book is a biography that very much downplays Ressler’s involvement, as it’s told through Douglas’s eyes. And by all accounts Douglas himself has no problem being Hollywood-ised in multiple ways – eg: he has been cited as the inspiration behind Silence of the Lamb’s Jack Crawford, as well as Criminals Minds’ Jason Gideon AND David Rossi.
Yet in the land of the internet – passionate advocates for both men often fall in the “either/or” category. Very much like how a lot of young Australian kids fell into “You’re either a Ford man or a Holden man. You can’t be both. One car is shit, the other is the real deal”.
It is this duality in fact that caused the producers to name Douglas’s character Holden Ford.
The series is also co-produced by Charlize Theron and David Fincher.
Also, I completely made up that bit about Holden’s name. I have no idea why they chose it.
Prognosis:
Series 2 will be just as good if not better than series 1. But it’ll jump the shark by series 3.
Surgeons of Horror 