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ADAM SEYBOLD in DEADSIGHT (publicity still)

Zombie minimalism. I doubt it will become a THING, as most audience members probably WANT to see oozing-faced members of the undead fraternity, ravenous for fresh flesh and single-minded of purpose. There is nothing discrete or casual about the way zombies behave (not that there is a rulebook on such), but director Jesse Thomas Cook (THE HOARD, SEPTIC MAN) deserves a spot on some future panel discussing the zombie cinema genre, which DEADSIGHT, after two years of industry machinations, is now a part of. It seems like Cook and his two stars, Adam Seybold and Liv Collins, are pretty familiar with zombie and plague movie lore, and mostly decided NOT to follow in the footsteps of George Romero, Danny Boyle, et al. They took their own restrained path, somewhat admirably. Cook, Seybold and Collins (who also co-wrote the script) gamely try to tell a suspenseful story in an idiom which has been done to death on both the big and small screen. Seybold plays an injured everyman, Ben Neilson, who has just had a tough eye operation, resulting in seriously impaired vision. He’s hoping to get back to his family soon, but something is terribly wrong. Ben is clearly at a disadvantage when it comes to skulking dead dudes who keep showing up hoping to snack on him. His only ally is a pregnant police officer who crosses his path, Mara Madigan (Liv Collins), taking it moment by moment in what is now a rural “zombieland.” The two must team up simply to survive.


“For me the attraction of making a movie like this, is that you’re not really making a ‘zombie movie,'” said Adam Seybold, during a recent phoner, of portraying Ben with both vulnerability and determination. “I’m playing a regular person who is blind, trying to get back to my family. And I meet a woman who is trying to survive WITH me. That’s what we’re doing. All you can do is play the moment to moment truth of what is happening. There are only so many ways to show a zombie outbreak. In terms of explaining where they come from, we don’t really do that. Viewers are smart about that. There just happen to be zombies. It’s better to just let the story happen and use zombies as a backdrop.”

Oh, they’re a bit more than a backdrop. Poor Ben never knows when he is gonna hear erratic footsteps behind him, and have to fend off another attack. Mara has the firepower, however, and Ben wants her close by at all times, especially when he learns she is pregnant.

“Liv was actually pregnant during the shoot,” he revealed. She was exhausted much of the time. But she was such a trooper. I’d say, ‘You should be at home resting instead of running around with a double-barreled shotgun!”

ADAM SEYBOLD in CREEP NATION (publicity still)

The two have an easy rapport on screen, despite the rather minimal dialogue. They previously appeared in CREEP NATION together, which Seybold described as a “PSYCHO for the modern age.” In DEADSIGHT, they often spent rainy, cold days on set trying to crack jokes and keep each other grounded.

“She’s one of my favorite co-stars,” he said. “We’ve worked together a couple of times. It makes those transitions (from off-camera waiting to ACTION) easier. Some actors save it all for the camera. But Liv and I are chatty by nature, so we’d try to crack each other up between scenes. It makes such a difference when you are comfortable with someone, and you can trust each other.”

How did Seybold prepare for such a challenging shoot? After all, he has gauze wrapped around his eyes for most of the film, and there are scenes of him attempting to make his way up steep hills or maneuver through the rooms of an unfamiliar house. Seems dangerous!


“As much as possible I tried to limit how much I could see,” he said. “Unless there were obvious safety issues. I’m sure there’s hours of outtakes Jesse has where I am wandering out of the shot or something. But when your eyes are closed, you’re not really acting anymore. You might be truly in danger. I think that’s why we make horror films. It takes you to that edge. Sometimes it’s miserable while you’re IN it, the frustration of not being able to see. But I chose that situation ‘cause it does take you beyond the limit. My day job is a writer, and I don’t have those concerns. My biggest decision is, am I gonna have tea or coffee?”

I commented on the surprisingly minimal action for a zombie movie, and the rather austere look of the film. Did Seybold sense it was going that way when they were shooting? “I haven’t actually seen the finished film yet,” he responded. “We shot it two years ago. I think that initially, Jesse told me, they had something a little more comedic in mind when they conceived it. That was the vibe before Liv and I. But based on our skill set, it was the way we acted together that changed the movie. Stemming from the vulnerability of these two people. So I guess the acting and direction ended up becoming more naturalistic.”

While films such as DAWN OF THE DEAD and ZOMBIELAND seemed to take pleasure in featuring gorey closeups of the dead either having flesh fiestas or getting blown to smithereens, DEADSIGHT avoids that kind of thing for the most part. Yet it is still suspenseful, and the zombies are in some ways even more believable as a result.

ADAM SEYBOLD in EJECTA (publicity still)

“They are what makes the movie,” agreed Seybold. “If the zombies don’t work, the whole thing falls apart. It’s a credit to the tone that it worked so well.” An early scene of a “transitioning” woman confronting Officer Madigan near her police car is rather unsettling; you don’t know what to expect, and Collins plays it that way. But creepier still are shadowy figures showing up a distance from Ben and starting to shuffle towards him. This sort of thing is almost never good in horror movies. And having Ben be virtually blind is an undeniably interesting touch. But whatever DEADSIGHT’s strengths, it’s unclear if audiences will discover such a “subtle” tale of the undead.

“That’s out of my control,” said Seybold. “I don’t know about niche. I’ve done enough things now where I play the game of how things will be received. You can’t write a hit on purpose, or by accident. It’s been two years since we shot the movie. It exists in a time when I was with those people. I had a great time working on the movie. Those people are my friends, like brothers and sisters. And that’ll be true, whatever the outcome.”




I’m a fan of minimalism, I gotta admit. And when you’re talking about a cinematic genre as inherently goreworthy and unhinged as zombie horror, it’s admirable if a director does NOT aim to out gross-out the likes of DAWN OF THE DEAD, 28 WEEKS LATER, WORLD WAR Z, TV shows such as THE WALKING DEAD, et cetera. Honestly, the restraint shown by director Jesse Thomas Cook in lensing this modest production was the first thing I admired.

DEADSIGHT (Adam Seybold) (publicity still)

The film opens with a partially blind man, Ben (Adam Seybold), awakening in a hospital disoriented about where he is and what the hell is going on, a story element borrowed from Danny Boyle’s classic 28 DAYS LATER. Ben’s eyes are covered in gauze wrap, and he knows enough to put drops in them periodically, but everything is quite blurry. And rather than staying put, Ben decides to wander around and see what he can suss out from his surroundings. This is not a wise choice, as periodically a shadowy figure will appear behind him or come out of nowhere, and these of course are the undead. Weirdly, they often take their time in stalking and trying to dine on Ben, which tends to give him opportunities to hide or whack the living shit out of them with his little walker weapon. Ben seems a little too bold and clever for this story, and I found it hard to believe he could just walk up hills and locate empty houses as easily as he did having very little of his eyesight to aid him. But I don’t fault Seybold as an actor; he’s reasonably effective, and not overly emotional in his portrayal.

DEADSIGHT (Liv Collins) (publicity still)

It’s a lonely journey for Ben until a female… and rather pregnant police officer named Mara Madigan (Liv Collins) crosses paths with him. Mara has had a few zombie encounters of her own, and it’s probably best that we don’t get much exposition of how this particular apocalypse came about and why Mara ended up the lone officer on her force, pretending to do her job when the only sensible pursuit is terminating these ugly zombies with extreme prejudice. There is an interesting scene early on where Mara confronts a female almost-zombie, and it’s almost poignant. Somehow the hapless officer allows the transitioning undead missy to get in her squad car and drive off. That struck me as ludicrous… wouldn’t she have shot the fuck out of her before she could get in the vehicle? And how far can you get as a soon-to-be-undead citizen, already drooling and covered with oozing sores, behind the wheel of a car? These questions are not answered; Officer Madigan continues rather calmly on foot, and reaches Ben just in time to blast a hungry fiend before it could snack on the hapless sight no-seer. Whatever tension that remains at this point comes from the cautious relationship between Ben and Mara, which is underplayed and not as well scripted as it ought to be. Still, the actors are watchable and grounded in this peculiar reality. There are no dumb speeches, and thankfully, no romance. But the two do care about each other, and Ben shows plenty of compassion upon learning that Mara is preggers.

DEADSIGHT (Jessica Vano) (publicity still)

Each zombie kill is distinct, and there are no scenes of hordes of ravenous undead descending upon our heroes, as is usually typical of these films. It’s actually a fairly quiet drama overall, with little or no excess gore. And I want to say that the cinematography is a bit better than you might expect. That is thanks to a guy named Jeff Maher, who films the empty, half forested landscape (probably the eastern US) with a disarmingly pastoral sweep, making you notice the trees and the winding rural roads at all times, so that when a creepy figure emerges from a roadside in the background, it has maximum dramatic effect. Also the film pays attention to how many bullets Officer Madigan has in her gun, a detail I appreciated. And the script counts Collins as a co-writer and producer, so bully for her for committing to every aspect of this movie. I give it points for underplaying what is normally the type of horror that absolutely goes for broke in the gore and/or black comedy department (as ZOMBIELAND did). The music score is restrained, the action is selective, and I admire the fact that very little is explained.

DEADSIGHT (Adam Seybold, Liv Collins) (publicity still)

This ends up being a minimal two-character drama overall, and I can’t name another zombie movie you can say that about. It’s pretty suspenseful, and I was not bored by DEADSIGHT, which I sort of expected to be. It’s made with attitude and an understanding of its cinematic template, while seeming determined to avoid most of the cliches of the genre. Sure, it has a few screws loose, and I would have written a few more soul-sharing conversations for the two leads, but DEADSIGHT moves briskly and economically through its contribution to a genre that would seemingly have little new territory to explore. And that’s a “dead sight” more than you have a right to ask for.

The flick is available on DVD, Digital HD and Video-On-Demand beginning Tuesday, July 2.




ZOMBIEWORLD is quite the mixed bag. If you like your zombies (and their victims, potential victims and survivors) on the creepy, scary, gritty side of the ook factor scale, you may wanna give this one a pass; if, however, a little bit (well… actually, a whole lot) of mindless zombie shenanigans (that’s a joke, son… I say, I say… a joke!) is more to your liking, then this may very well be the odd little patchwork quilt of a zombie apocalypse for you. The thing gathers several short films from around the world, loosely held together by quintessential news anchor Marvin Gloatt (over-played to the hilt by the brilliant Bill Oberst, Junior), who is first heard beating back several members of the reanimated news staff before taking his seat before the camera and announcing that he had been bitten by one of them; the professional that he is, the anchorman vows to stay on the air until the end…. hilarity definitely does ensue! Interspersed with Gloatt’s spots and the shorts are several public service announcements informing us how to recognize, fight, kill and survive a confrontation with a zombie. These PSAs are so over-the-top funny that one of the monsters would be dining on your grey matter before you could catch your breath from laughing so hard.

ZOMBIEWORLD (Bill Oberst, Junior) (publicity still)
ZOMBIEWORLD (Bill Oberst, Junior) (publicity still)

The flick starts off with a confounding opening sequence called DARK TIMES. Apparently, a nuclear reactor has brought on the zombie apocalypse in a Tallahassee swamp and, gosh darn it… wouldn’t you know, it hits right in the middle of the plant’s Christmas party. Everything is shown from the point of view of – just a guess here – the slowest guy in the group; this guy witnesses everything from the zombies’ table manners to the military might of the Florida State Militia to Santa’s claws as they eviscerate the poor sap. And, of course, the aliens. Oh, yeah! That’s right… I said “aliens.” The whole thing is dark and moody and chaotic and, hey… who doesn’t like a zombified Kris Kringle, huh? As we head back to the news desk, we get a little history report on the origins of zombies. According to ol’ Marvin, it would seem that the first infection happened some 2,000 years ago, when some guy named Lazarus was raised from the dead. In a totally outrageous and sacrilegious gore-fest from Spain (that means you’re gonna be reading this one, English pig-dog!) called FIST OF JESUS, our Lord and Savior miscalculates the spiritual mojo when he brings Lazarus back from the dead, creating the first zombie. Lazarus very quickly makes an entire army of zombies… uh… make that three entire armies: Lazarus’ people, the Israelites; the Roman centurions; and, of course, the cowboys. As Jesus (portrayed by a stoic Marc Velasco) and Judas (yup… that Judas!) haul butt out of town, they are confronted by the armies of undead corpses. Realizing that they’re trapped and will have to make a stand, Jesus asks Judas (played by a less-than-stoic Noe Blancafort) if he has any weapons; Judas says that all he has is one fish and hands it over to Jesus… So, you know where this one is going, right? As Jesus multiplies the fish, he begins to hurl them at the oncoming hoard, beheading them, dismembering them and wreaking a general havoc; Judas joins in with a giant swordfish from Heaven only knows where (and you know that’s the truth!), leaving an hilarious trail of blood and body parts in his wake. The premise, the action and the make-up and special effects are so over-the-top that you’ve just got to give a tip of the hat to directors David Munoz and Adrian Cardona for creating such a blasphemously funny film.

ZOMBIEWORLD (Marc Velasco in FIST OF JESUS) (publicity still)
ZOMBIEWORLD (Marc Velasco in FIST OF JESUS) (publicity still)

The most straight-forward and, ultimately, most effective piece is HOME, a tale of seclusion and an inate will to survive. A young woman (Jamie McDowell) struggles against her loneliness and an ever-growing amount of walking dead. Her mental lynchpin is a photo depicting her in happier times, with a young man who turns out to be her fiance. The final scene is, possibly, one of the greatest and most visceral visuals ever seen in a zombie movie. A couple of the shorter pieces, DEAD RUSH and TELEPORTAL, come off as first-person shooter video games (one figurative, but with an ax, the other quite literal); both are kinda goofy, but TELEPORTAL comes off looking better and, thus, is more authentic. One of the weirdest shorts is CERTIFIED, a strange period piece featuring a brilliantly subversive switch ending. The rural mail route setting and, later, learning that the mailman is not only new on the route, but new to the area leads to certain conclusions – especially after hearing the story of family tragedy laid out by a young girl (played with a twinkle in her eyes by Rebecca Spicher) and taking in a series of bizarre coincidences. Aside from HOME, this is probably the best work of this collection, regardless of the shocking ending. The final piece is BRUTAL RELAX, which comes from the same warped minds that produced FIST OF JESUS so, again, you’ve got some reading to do. The basic premise is the same, without the God complex: A high-strung man is told to find a way to relax, eventually ending up on a secluded (and amazingly crowded) beach, flopping in a therapeutic mud hole and cranking up his iPod. As the guy drifts off into a blissful oblivion, the beach is overrun by ugly green water zombies; as the putrid corpses gorge on the other sun worshippers, the guy’s batteries run down, killing his iPod and his happiness groove. What follows, naturally, is an overwhelmingly crazy set-to between the guy and the hapless water zombies. BRUTAL RELAX is fun, but it really just comes off as a manic Benny Hill skit… a bad Benny Hill skit. Which is okay by me.

ZOMBIEWORLD (Rebecca Spicher in CERTIFIED) (publicity still)
ZOMBIEWORLD (Rebecca Spicher in CERTIFIED) (publicity still)

There are a couple of very forgettable pieces that either try too hard for that sense of stark hyper-realism that worked so well with HOME, or for the lunatic slapstick style that may work with FIST OF JESUS and BRUTAL RELAX or with Oberst’s slowly marinating Marvin Gloatt, but they fall just short of the mark for me. The bottom line is this: ZOMBIEWORLD is a fun way to kill a couple of hours and a few brain cells; unfortunately, the cartoon violence, Noah-like floods of blood (and an equally gross amount of dismembered and disemboweled bodies and corresponding parts) and less-than-gentile language makes it verboten for kids under, say, twelve or thirteen years old. Some may also be offended by the rewrite of the Gospels, turning Jesus into a zombie-killing machine. But, if your goat isn’t easily got by that sorta thing, I say, “Go for it!”


(Brockton McKinney/Larkin Ford/Jason Strutz; 129 pages; ACTION LAB COMICS, 2014 – collecting EHMM THEORY, issues 1-4, 2013)


EHMM THEORY, BOOK ONE (from Action Lab’s Danger Zone imprint) collects the first story arc starring the recently murdered Gabriel Ehmm and his pet, a kitten named Mister Whispers, which died from starvation after Gabriel’s death. “Cat, Quantum and Contrition” starts, fittingly enough, in a cemetery filled with killer midget clowns, three days after Ehmm is shot by his jealous girlfriend. From there, the story starts to get weird. Gabriel – and by extension, Whispers – finds himself on a kinda existential journey of self-discovery involving talking animals (including the ball of gray fur sitting on Ehmm’s shoulder), murderous senior citizens, Saint Peter and his gas chamber teleportation device (except not really), deadly cyborg crustaceans, a team of oddball super heroes (who really aren’t), multiple realities and, of course, those knee-gnawing zombie midgets! In other words… What’s not to like?

EHMM THEORY, BOOK ONE: Issue 1 cover, page 18 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)
EHMM THEORY, BOOK ONE: Issue 1 cover, page 18 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

After the brief introduction (which comes back around), writer Brockton McKinney brings things into focus where the whole thing started – Gabriel Ehmm’s origin story, if you like – as our intrepid hero returns home with a surprise for his girlfriend, Stacy; she, of course, has a surprise for him, too. Soon, Gabriel wakes up dead, with the adorable Mister Whispers sitting on his chest, asking “You okay, dude?” The befuddled pair are soon joined by a cigar-chomping Mafioso-looking guy, nattily dressed in white and sporting a well-trimmed white beard and perfectly quaffed and ponytailed white hair. Why would they question such a being when he introduces himself as God’s gatekeeper, Peter? Which brings us back to the beginning and the graveyard of tiny terrors. Gabe and Whispers are overpowered by the zombie horde and saved by an ax-wielding senior citizen, a woman named Alyona Tarasov who knew Gabe’s birth father and, so… the ride of Gabriel Ehmm’s young unlife is about to begin. A quick note about Larkin Ford’s artwork (and the besutiful color work by Jason Strutz) is necessary here: It is absolutely mesmerizing, especially the cemetery sequences and the murder sequence. This initial chapter (the first issue of the series) can be a bit confusing, with enough twists and turns to make your head spin but, with a promise that all eventually will be made clear, we move forward.

EHMM THEORY, BOOK ONE: Issue 2 cover, page 11 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)
EHMM THEORY, BOOK ONE: Issue 2 cover, page 11 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

And, indeed, as chapter two opens, we find Gabe, Whispers and Alyona on the road, seeking the father he never knew, as the old Russian explains her relationship with Aaron Ehmm and why she didn’t bat an eye at the dead talking cat. It seems that she and her sister, Dominika, first met Aaron at college in 1982, where the brilliant young Ehmm was turning the heads of students and faculty, alike. A professor’s tale of a talking rabbit he encountered at the South Pole began to consume the elder Ehmm. Before Alyona could continue her story, the car is set upon by a giant, cybernetically-enhanced crab in another well-drawn sequence. The action comes fast and furious as, with the Russian being poorly over-matched, GODD shows up. Wait… who? The Guardians of Dimensional Defense, three super-powered beings and a pair of intelligent robots: Mindwolf, the team leader, who introduces GODD as “the good guys; the Thermal Ghost, a being of blue flame; Alchemist, who looks like a shabby, shaggy mummy; the Emp, a foul-mouthed, smart-aleck little robot, who’s kind of a cross between HERBIE (from those crappy old FANTASTIC FOUR cartoons) and Skeets (from the not-crappy BOOSTER GOLD comics), who has a serious problem with Mister Whispers (there’s a wicked funny exchange between the two); and an impressive looking female ‘bot called TAMMI (which stands for Technologically Advanced Mechanized Military Instrument). While Gabe and Whispers are dutifully impressed and more than ready to accept the team’s help, Alyona isn’t so easily swayed and pretty much tells ’em to take a hike. The final two pages of this chapter reintroduces “Saint Peter” and the true villain of the piece… ah, but that would be telling, wouldn’t it? McKinney, aside from writing a really great fight scene, has begun to unravel the plot twists with more answers promised for the third installment.

EHMM THEORY, BOOK ONE: Issue 3 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)
EHMM THEORY, BOOK ONE: Issue 3 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

That third installment starts with another beautifully rendered sequence, as Alyona relates more of the story: Aaron, Professor Lanny Crowell (who had seen the rabbit at the South Pole), Dominika and she had traveled to the Pole in search of a possible reason for the talking bunny. What they found was a dimensional anomaly… a portal to other worlds and other realities. Again, the story is interrupted, though not in a fashion as dramatic as a cyborg crab and a super-powered dust-up. The trio has arrived at their destination: Jon Kaye Town Hospital, where an old friend of Ehmm the elder currently resides. Spoiler alert: Tym isn’t the drooling husk in the wheelchair. So, Tym joins the group on their journey and relates more of the story, with more talking critters and the introduction of Gabe’s mother, the Princess Emera, from an alternate dimension… the very dimension the portal chose to spit Aaron into. Tym’s story ended, the four arrive at the last known residence of Aaron Ehmm, where Gabe has a total meltdown at the prospect of seeing his father for the first time. From here, things are brought into clearer focus as the good guys begin to separate themselves from the bad guys, with the unexpected return of Gabe’s girlfriend, Stacy (who has, by this time, gained an “e” to become Stacey), and another wicked fight sequence between GODD and Alyona and Tym, ending in what, I suppose, would be called a “double betrayal.” Another well-written, beautifully rendered installment ends with an exploding door, an injured Alyona and a shotgun wielding Aaron Ehmm.

EHMM THEORY, BOOK ONE: Issue 4 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)
EHMM THEORY, BOOK ONE: Issue 4 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

So, the fourth and final installment (issue four, if you’re counting) isn’t the action-packed throw down that you would expect… not to say that there isn’t an action-packed throw down, there is and, all you really need to know is this: “Robeartopus!” It is every bit as mammoth and weird as it sounds. There is plenty of exposition, explaining the whys and how-fors of everything that has happened and is happening. But, even so, you will find yourself so engrossed in the story and art that you’re really not even aware that every third panel isn’t some scene of carnage and mayhem. This issue is so densely written, with everything explained (while also setting up the next story arc), that I really can’t reveal much without spoiling the end of one of the most adventurous story-lines in comics history. Yeah, yeah, yeah… I know… hyperbole much? Well, boys and girls, I suggest you pick up this collection and decide for yourselves. Now… here’s the one problem with EHMM THEORY, BOOK ONE: The story and art are exemplary but, for some reason that eludes me, EVERY page from the original single issues is included here. That means that at the end of each installment, there are pages of in-house advertisements for then-upcoming Action Lab releases, including the next issue of EHMM THEORY (a total of at least 12 pages over-all). A minor complaint, but one that really seems to annoy me with all of the company’s collections. Both physical and digital copies are available at the Action Lab site, at ComiXology or, even cooler yet, visit your local comic shop.