Interview with the Vampire, on AMC

New Orleans really is the perfect place for vampires. It is a city built around nightlife, where they bury their dead above ground. The new series reboot definitely capitalizes on the New Orleans vibe, but it also embraces the homoeroticism of the original novel. This definitely is not Tom Cruise’s Lestat. What was once implied is now explicit in creator Rolin Jones’ Interview with the Vampire, which premieres Sunday on AMC.

Years ago, vampire Louis de Pointe du Lac sat for an ill-fated interview session with rookie reporter Daniel Molloy. Years have passed. Molloy is now an aging journalist, facing his mortality. With the CCP pandemic raging, Molloy agrees to a do-over with Pointe du Lac, meeting him in his luxury Dubai penthouse.

This time around, Pointe du Lac is a Creole vampire, who saved his family fortune through his administration of several Storyville sporting houses. How he met Lestat de Lioncourt hardly requires much explanation. Although de Lioncourt first humiliates Pointe du Lac with his favorite high-class prostitute, they are soon sharing her services. Pretty soon they do not even need her at all. By this time, de Lioncourt has turned his vampire apprentice-lover. However, Pointe du Lac still attempts to maintain ties with his family, despite the increasingly awkward complications of his sexuality and vampirism.

In the film, Pointe du Lac was played by Brad Pitt, which made sense, whereas Cruise portrayed Lestat. Honestly, it was a miracle the director Neil Jordan was able to make that work to the extent that he did. Louis’s new Creole-ness is certainly woke-compatible, but it fits relatively easily with the novel’s themes, further emphasizing Pointe du Lac’s outsider status.

However, the best part about the new series is the older, dramatically more cynical Molloy, now portrayed by Eric Bogosian, who is a major trade-up from Christian Slater. Time after time, Molloy undercuts the eroticism and moral relativism Louis tries to cloak his story in. Repeatedly, he asks tough questions about the vampires’ victims and their bereaved families. Honestly, it is a shame so few real-life journalists demonstrate this kind of integrity and tenacity.

Gangs of London, now on Regular AMC

This could be the Shogun or Lonesome Dove of TV adaptations of video games. Frankly, few gamers are likely to remember the PSP game that inspired it, but that gave Gareth Evans (of The Raid franchise) and co-creator Matt Flannery a lot of latitude, which they made good use of. Most importantly, Evans’ signature flair for action comes shining through in Gangs of London, which comes out from behind the AMC+ pay-wall when it premieres Sunday on the regular AMC.

Both the London underworld and the realm of City high finance will be shaken by the murder of crime boss and construction magnate Finn Wallace. The young Traveller who pulled the trigger had no idea who he was duped into killing, but he soon goes into hiding. Tracking down any lead will help deep undercover cop Elliott Finch rise in the ranks of the Wallace gang. He certainly has the fighting skills, as we see in the Raid-like first episode, directed by Evans.

Subsequent episodes fall into a bit of a pattern, wherein the first two acts explore the intrigue of the Wallace organization and their rivalries and alliances with other ethnic-identified gangs in London, but they usually conclude with a big, loud action set piece. The one at the end of episode two (directed by Corin Hardy) is especially brutal, but the spectacularly cinematic shoot-out climax of episode five (also helmed by Evans) could very well be the highlight of the entire series.

For what its worth, the gangster-finance-politics skullduggery is also interesting in its own right. In fact, it is a minor miracle Evans, Flannery, and their team of co-writers were allowed to portray Nasir Afridi, a leftwing Labour candidate for London mayor and the son of a Pakistani drug cartel boss in such unflattering terms.

Regardless, it is the action that hooks viewers and it should make Sope Dirisu an international star. He has serious action cred and he burns up the screen with his brooding intensity. He also generates some effective heat with Pippa Bennett-Warner, playing his potential love interest, Shannon Dumani, the daughter of Ed Dumani, Wallace’s consigliere and legit business partner.

The Terror—on AMC and as part of What the Fest

You might wonder if sailors would be too superstitious to serve on a ship named HMS Terror, but when it was commissioned as a bomb ship, the name probably sounded reassuring. During the War of 1812, the Terror helped lay siege to Fort McHenry, thereby contributing to the composition of “The Star-Spangled Banner.” However, when it was retrofitted as a polar exploration vessel, it stopped instilling terror and started attracting it, according to the laws of karma. It will be the crew’s profound misfortune to be assigned to an impossible mission, under the command of a tragically hubristic commander in the new period horror limited series The Terror, produced by Ridley Scott, which premieres on AMC this Monday—and the first three episodes will also screen together during the upcoming What the Fest!?

Sir John is determined not to return until he finally discovers the long-sought Northwest Passage, but unfortunately, it does not exist. Frankly, Captain Francis Crozier probably suspects as much. He is second in command to Franklin (who leads the expedition from HMS Erebus), and directly skippers the HMS Terror. Franklin is convinced providence will eventually open up a back channel to China for them, but you could say hope does not cut much ice that far north.

Inevitably, the two vessels become icebound, which would be bad enough on its own. To make matters worse, as the crew prepares to endure winter in the distant arctic seas, a mysterious creature starts hunting them. The so-called “Tuunbaq” looks like a mutant polar bear, but it seems to have some sort of psychic connection to the Inuit woman they fittingly but somewhat ironically dub “Lady Silence.”

Based on Dan Simmons’ novel, The Terror combines the icy dread of Lovecraftian horror with the grim but fact-based realities of conditions during a Nineteenth Century polar expedition. There is a palpable sense of claustrophobia, isolation, and biting wind-chill throughout the series. The set and design craftsmanship is absolutely first-rate, but from time to time, the battery of directors (Tim Mielants, Edward Berger, and Sergio Mimica-Gezzan) allow too much slack in the line. Arguably, this ten-episode series could have easily run a leaner, meaner eight episodes without seriously ill-effects.

Nevertheless, it is impressive how skillfully co-showrunners David Kajganich and Soo Hugh build this sinister ice-bound world and establish the intricate network of relationships among the expedition’s crew. It is also nice to see a major television production entrusted to veteran character actors like Jared Harris and Ciarán Hinds. Indeed, both are well within their elements, bringing complex, humanizing dimensions in the dour, whiskey-medicating Captain Crozier and the arrogant, tunnel-visioned Franklin, who both feel a strong emotional attachment to their crews, but which manifests in very different ways.

Harris and Hinds give the series instant credibility, but Tobias Menzies delivers what might be the best performance, involving the most extreme character development arc, as James Fitzjames, the expedition’s third in command. Initially, he comes across like a Mr. Darcy-like character, but he becomes considerably humbler as reality sets in and his sympathies swing from Franklin’s gung-ho position to the pragmatism of Crozier.

For obvious reasons, this is a very Y-chromosome cast, but Nive Nielsen is terrific as the mysterious Lady Silence. Adam Nagaitis chews the scenery like an old pro, making a suitably despicable villain as the mutinous Cornelius Hickey (typically pronounced “Higgy”). Likewise, Paul Ready is indelibly memorably as the tragically empathetic Harry Goodsir, the ship’s surgeon (ranking below the doctor in 1800’s terminology).

It definitely feels like a long voyage, but there are scenes in Terror that will really stick with viewers. The term “punished as a boy” will always ring with meaning and a third act death clearly evokes David’s painting of The Death of Marat in its grim elegance. This is an effectively moody slow-boiler, but when the creature attacks, the effects are quite good. The series should also keep viewers honest with respect to the over-hyped storms that recently dusted through the City. Sure, there was a little snow, but there was no need to worry about scurvy. Recommended for fans of atmospheric period horror, somewhat in the Hammer tradition, The Terror premieres this Monday (3/26) on AMC—and 30% of it screens during What the Fest!?, at the IFC Center.

TV on DVD: The Walking Dead

Zombies are slow and dumb, but they have one significant advantage: sheer numbers. The dead are indeed re-animating and infecting the living in Robert Kirkman’s comic-books, which AMC has adapted for television with the first season of The Walking Dead, now available on DVD (promo here).

Sheriff’s deputy Rick Grimes is a quiet, self-contained kind of guy. He would be handy to have around during the end of the world, but as fate would have it, he misses the initial cataclysm. Waking up from a coma in an abandoned hospital, much like opening of Day of the Triffids, Grimes sets out to find his family, encountering stray human survivors here and there.

There have been a number of criticisms leveled at Walking, which are somewhat off the mark. Much has been made of the racist white trash character Merle Dixon (presumably named after Merle Haggard) and his violent but useful brother Daryl (presumably named after his other brother Daryl), as representatives of red-state southerners writ large. (Of course, crisis situations bring out the worst in some people. Remember Ray Nagin hiding from his responsibilities on the top floor of the Hyatt Hotel during Katrina?)

However, the Brothers Dixon are not Walking’s only white male characters, besides Grimes. For instance, Dale Horvath, the RV widower, serves as something of a kindly surrogate father for the band of survivors Grimes encounters. Though he also definitely fits the preconceived Nascar demographic, the character of Jim is never depicted in unsavory terms. He is just socially awkward, which the zombie apocalypse is not likely to help.

Perhaps the biggest rap on Walking is there are not enough zombies. It is definitely talky, particularly by the standards of Romero’s franchise. Yet, Walking is most notable for its success setting the scene, creating a vivid sense of zombie-ravaged Atlanta and the surrounding environs. The production and set design work is top-notch all the way through.

The real drawback to Walking is the narrative flow. With just six installments, each chapter should build up the story-line in a logical progression. Instead, once Grimes has his big reunion early in episode three, the series becomes rather episodic. The survivors go into town, then return, only to go back again. Indeed, season one feels somewhat truncated. It leaves several supporting characters in precarious positions, but since it does not show their actual demises, audiences are primed for a late reappearance from somebody, but it never materializes.

While the cast rages from very strong to sufficient by genre standards, English actor Andrew Lincoln clearly stands out as Grimes. Though not exactly blessed with a standard leading man presence, he conveys the grit of someone who can be relied on during times of crisis. Controversies notwithstanding, Michael Rooker and Norman Reedus chew the scenery with relish as the Dixon brothers. Unfortunately, Walking has yet to develop a really good woman action figure to compliment the guys, like a Maggie Q.

Frankly, season one feels like set-up, having set the scene and established the back-stories quite effectively. However, there are scads of loose ends left dangling and no heavy pay-off at the end (there is a big explosion though). Still, there is some entertaining zombie killing and perhaps more importantly, it leaves viewers intrigued as to what the future holds for these characters. Now available on DVD, Walking is recommended for those who wish to invest the second season (coming this fall) as well.

The New Prisoner

In mathematics, six is the smallest perfect number, making it an appropriate designation for the unnamed protagonist of The Prisoner, Patrick McGoohan’s cult 1960’s science fiction series. While the original Number 6 was a paragon of individuality, times have changed. In AMC’s three-night six-hour miniseries reboot, Number 6 now desperately clings to his sense of self in the face of a technological dystopia. Yet, Prisoner fans will be happy to hear Number 6’s mantra remains the same: “I am not a number, I am a free man.” They will have plenty more to compare, contrast, and debate when The Prisoner (trailer here) debuts this coming Sunday night.

A man wakes up in the middle of the desert. Though disoriented, he still rushes to help an elderly man fleeing an armed gang. Following the dying man’s instructions, he makes his way to the nearest settlement, a community of largely homogenous pre-fab buildings referred to simply as “The Village.” There are no names in The Village. Everyone is known only by their number. (According to the press kit, mine is 779). The reluctant new arrival is told he is and always has been Number 6, by Number 2, the supposedly benevolent ruler of this ostensibly happy community.

We quickly learn from early flashbacks the new Number 6 at least has a first name, Michael. We also know he recently resigned from a sensitive position at an electronic surveillance firm, but the true nature and location of The Village remains a mystery. As in the original series, Number 2 will wage a not-so cold war to break 6 of his headstrong individuality and convince him to accept life in The Village.

Pulling out all the stops, 2 targets 6’s human vulnerabilities, like familial love and romantic attraction. Yet unlike the original 6, who tormented a rotating cast of 2’s with his brilliant counter-measures, the new 6 constantly struggles to maintain his sanity in the face of this 2’s relentless psychological warfare. Of course, should 6 ever try to make a break for it, Rover, the ominous beach ball, is still there to herd him back to the tight little Village.

Number 2’s cream colored suit fits Sir Ian McKellen to a tee. He is absolutely perfect as mysterious mastermind, reveling in every nefarious scheme, while dealing with his rebellious son 11-12 and sick wife, M2. The casting of Jim Caviezel as 6 is also an inspired choice. He has the right on-screen intensity as the defiant everyman and also brings a certain iconoclastic reputation as an actor that actually enhances his credibility in the role. (Who else in Hollywood would be more likely to be banished to The Village than the star of The Passion of the Christ and The Stoning of Soraya M?)

Though many of the particulars have changed (like the desert setting in place of the vaguely Mediterranean ambiance of the original Village), AMC’s Prisoner often nods to the classic series, with strategically placed props, including an antique penny-farthing bicycle and a lava lamp. Writer Bill Gallagher also demonstrates a similar flare for eccentric details, like the Village cuisine, which is now consists almost exclusively of wraps (except for the cakes baked for 2, of course). The new Prisoner also delves deeper into the sociology of The Village, where surveillance is one of the subjects taught in grade school and matches are made through blink counts.

While AMC’s Prisoner is divided into six episodes (each with a title that echoes those of the original series), it is very definitely a sequential narrative that steadily builds towards its final reveal. Unlike the 1960’s show, the new incarnation of The Prisoner is much more cinematic, capitalizing on the sweeping sand dunes and sun-drenched vistas of its desert locale. In fact, Florian Hoffmeister’s lensing nicely reflects the surreal nature of the Village (wherever it might be), suggesting he might be the right cinematographer to shoot the next Dune adaptation as well.

In most respects, the new Prisoner gets the tone and spirit of the otherworldly Village right. However, the evil Summakor Corp. seems like small beer compared to the shadowy forces behind the original Village, which might have been run by our side, the other side, or both sides cooperatively in an early manifestation of New World Order paranoia. Still, AMC’s Prisoner makes up for the evil corporation cliché with a series of increasingly inventive revelations that should even pass muster with the generation of viewers raised on The Matrix.

Indeed, this Prisoner is a very cleverly constructed science fiction event that will definitely entertain newcomers to the Village and satisfy most cult followers of the original Number 6. It is commendably ambitious, requiring a certain commitment of time and attention, given its fractured narrative and the frequently dubious nature of reality within its story. The Prisoner debuts on AMC this Sunday (11/15), continuing through Tuesday (11/17), with two back-to-back episodes each evening (8:00 PM EST).

(Photos © Keith Bernstein/AMC)