After last week’s road trip back to his hometown and the apparent close distance of everything in The Walking Dead’s universe, Rick piles Hershel and Daryl into the car… and takes another one! Well, this time it’s to Woodbury to talk to The Governor. But a change of scenery seems to be welcome these days, doesn’t it? Much like last week’s episode, this week’s, “Arrow on the Doorpost,” plays with format and is indeed a welcome change from the show’s usual one location per episode mentality. It also puts Rick directly against The Governor at long last as the two (kinda) attempt to make a deal, while Daryl and Hershel provide cover. This episode does have its drawbacks, but what it does best is pair opposing sides – Hershel with Milton and Daryl with Martinez – in a humanitarian approach, showing that despite allegiance to either Rick or The Governor. People are just people! Glenn and Maggie seem to prove this also, though via a somewhat unsanitary act of lovemaking outside the prison.

Author’s Note: There were issues with my cable last night, hence why this is posting a bit late – I had to download the episode this morning. Barring further cable-related issues, future episode reviews will post Monday morning, per usual.  The Walking Dead returned last night after a midseason hiatus, and it came back with an above average episode, “The Suicide King,” directed by television director extraordinaire Leslie Linka Glatter, of Mad Men and Twin Peaks. This episode was important in the course of the show as some of the gang finally started to question the Ricktatorship and new leaders, other than Daryl, are beginning to emerge. There were some issues, but this return episode was successful on the whole as it planted seeds for many interesting happenings to come. Both Rick and the Governor lost their shit in front of their respective followers! The Dixon brothers are out on their own! Allen and Ben pose a threat to the group… kinda! And Beth is crushing hard on crazy Rick!

Comparatively to past weeks, the latest episode of The Walking Dead, “When the Dead Come Knocking,” succeeded in showing some great examples of that age-old George A. Romero zombie parable: that humans’ greatest enemies are each other. While we were treated to some great scenes of zombie violence, this episode was at its best when man fought man, even on a more psychological level. On the whole, this episode was fairly solid, except for that scene of Andrea and The Governor in their lovemaking afterglow. That probably did more to cause nightmares. Perhaps the most chilling scenes of the season so far were of Glenn and Maggie’s interrogations by Merle and The Governor. Now, Glenn was always a nice guy and it’s quite hard to watch him tied up at a chair while Merle threatens him with a knife. However, Merle, pressing a flattened knife on someone’s upper lip isn’t all that threatening… nevertheless, once the facial pummeling starts, you ache to save the wily little fellow. Michael Rooker as Merle (as usual) gets a great showcase in this episode with his ribald, white trash torture methods. He is able to convey the heightened sense of power that Merle feels over Glenn here, and soon afterward, the subservience to The Governor in a moment’s time. Backtracking, his performed control over Glenn perhaps makes up for his being The Governor’s underling in his own mind.

Flesh for Frankenstein and Blood for Dracula. Island of Lost Souls. The Most Dangerous Game. The Night of the Hunter. The Blob. For a company perhaps best known for releasing pristine editions of international arthouse classics, The Criterion Collection certainly has a healthy amount of cult films in its repertoire. Cult cinema is often a difficult beast to recognize, for such films avoid the roads best travelled in their journey towards recognition and renown. Unlike seminal films in the collection including The 400 Blows, 8 ½, or Rashomon, cult films aren’t typically met with immediate cultural or institutional recognition upon release, aren’t made by internationally-recognized talent, and don’t always have an immediately traceable history of influence. That is, however, what makes cult films so interesting and so valuable: they emerge without expectation or pretense and signal the most populist and anti-elite means by which a film can gain recognition, pointing to the fact that there are always valuable films potentially overlooked between the pages of history. Herk Harvey’s low-budget drive through horror masterpiece Carnival of Souls (1962), like many cult films, emerged into the top tier of film culture in some of the unlikeliest of ways. Harvey was an industrial and educational filmmaker; the $33,000 Carnival was his only feature work. The film had ten minutes lobbed off of it for its drivethru run to fit more screenings, and was largely a non-event when it first graced American screens. Carnival’s success is owed mostly to genre film festivals, late-night television

George A. Romero’s fun and darkly hilarious Survival of the Dead has invading cineplexes and in accordance to that we here at Film School Rejects have been given three very cool mini posters for the film.

We sit down with the legendary George Romero and find out what happens when you shove a screwdriver in a zombie’s ear.

Kevin Carr sits his chubbiness down weighs in on Cop Out and The Crazies.

Kevin and Neil celebrate the end of the February movie season by barely seeing any movies. Neil copped out on Cop Out and neither of the Fat Guys were able to see The Crazies before recording.

With 5 “of the Dead” films already done and another on the way, we decided to lighten Romero’s workload by coming up with the titles and plots for his next seven films.

Before zombies were everywhere, they were terrorizing the citizens of Pittsburgh, PA, directed by the disturbed mind of a kindly man named George A. Romero.

If it’s hot where you live, but you still feel like you haven’t gotten all you can out of summer and it’s relentless, unforgiving, soul-crushing heat, here are ten movies you can watch that’ll help change your mind and keep you indoors.