In movies and TVZombies are scary because of their number. It doesn’t matter how fast you run, it doesn’t matter where you go, they find you. They are on such a massive scale that they become inevitable.
In archetypal zombie films such as George A. Romero’s “Dawn of the Dead”, the main characters are trapped in a closed place surrounded by hordes of zombies whose only goal is to make them death. Yet these zombie hordes are just waiting outside. Most of them, they are run as an insane crew when they find a way in. These undead do not plan, do not strategize and do not even think. “The Last of US” Season two does something different in its second episode, and the result is a very different time at The Walking Dead than we have seen both during the first season and even the match.
Well, an important difference first. The zombies of ”The last of us“Are technically infected (with the fungus Cordyceps) rather than being reanimated corpses. This is important because they are not undead ghouls that rise from the grave, they do not become broken corpses that slowly fall apart. Instead, the first season. HBO Show took advantage of this difference between undead zombies and infected by showing the different stages of the fungal infection and the different types of dangers that the creatures give, from the clicks eco -ookation and difficult to scratch scaling to a Hulking Bloater’s massive size and strength.
In the second episode of the second season, the show kicks things up, and takes the excitement in the fifth episode of the previous season and calls the Zombie Action up to 11. First, a shot at the end of the premiere section shows that a network of Cordyceps Tendrils has been wound around the pipes in the Safe, Wyom, Wyom in Jackson, To the to Set Selling the Souls.
From the first moment we see the mass of infected through the blurred binoculars from Watchers on the walls of Jackson, the show takes a lot of care to determine the dynamics we expect. Both director Mark Mylod And editor Timothy A. Good create a tense building rhythm by the Jackson defenders who are getting ready – store Flamethrowers and weapons, distribute frames on the production designer’s Don Macauley’s high walls, come in position for a ambush – with the simple rage of infected running. Mindless zombies, right?
Not quite. Instead of just throwing the wave after the wave of infected at the walls, the zombies quickly change tactics as they hit resistance and begin to react to their enemy. It is clear that they tested the city’s defense, and when part of the wall does not break, they run away towards another part of the city. They do not withdraw, but rather move over to Plan B – where “B” stands for “Bloater.”
The bloater acts as a vivid beating frame, crushing the gate until it bursts open and the horde can enter the city. Sure, the infected do not have siege weapons or a commander who issues orders, but it is clear that this is different from what we have seen before. The editing of Bete switch forces us as viewers to fight with a completely different type of excitement than we expected. The shock and fear of stunt coordinator Marny Eng can simply build by having his infected team (both actors and the actual army of infected) moves with purpose, adjusting the speed to terrain while maintaining a zombified rage, makes each individual infected dangerous, not just the hordes of them.
The danger of the battle is further emphasized by the framing selection such as Mylod and the veteran “House of the Dragon” kinematographer Catherine Goldschmidt. For all his careful planning, Tommy (Gabriel Luna) is the one that ends up in an alley looking up at a bloater. Goldschmidt’s camera moves to follow him as he runs for a vantage point, with a small shaking to match Tommy’s vanity, but remains quite wide. We can always see exactly the limits for buildings and supplies, the overly waste points of egress.
When Goldschmidt goes near, on the bloater’s feet that shoots through the fire and the pressure gauge for Tommy’s Flamethrower bleaching, it is when Tommy supports in a corner physically, becomes lower to the ground and closer, we understand intuitively, to death. “The Last of Us” is quite clear, visually, how impossible it is to escape.
Do you remember the very Meme-D scene from “World War Z” by the zombies that close together as ants to form a ladder and climb the walls of that movie? It was the film’s attempt at smart zombies, or at least a formidable force that could destroy the world, but it became short. The bag to Jackson in “The Last of Us” is among many other things the correct “World War Z” adaptation fans of what the book Ville.
If the “The Last of US” team can be counted on for something, it is to give us what we want in both the best and the worst way. Eng and his stunt team are based on the gloomy choreography in Kansas City Battle in section 5 of Season 1 to show how much angry, frightening danger there is when a group of infected enters a human population. The wide shots of Tommy who go on Jackson’s main street, which burns in the snow, are a riot of Gore and desperate hand-to-hand act that neither our fokus character nor any other than the most dedicated Rewatch viewers will fully catch. But the smart compositions and the intricate struggle give us the same visceral feeling of being in the middle of that grinding stream, and what it means when all German shepherds will run to Tommy’s rescue.
As a section of TVThe Battle of Jackson is one of the most impressive screens of cinematography and stunt work in recent years, up there with the best moments of “Game of Thrones.” There is something new in the genre, a large -scale siege battle with an army of speechless ghouls that are very clearly not insane monsters.
That is the best “The Last of US” Have ever done, and a hell of a zombie attack.
“The Last of US” flows at max.
