Friends often ask me to recommend indie horror films on Netflix Instant. (American Netflix, sorry!) Now I can just send…
Day of the Dead
The darkest day of horror the world has ever known.
The final chapter of George A. Romero's "Dead Trilogy". In an underground government installation they are searching for a cure to overcome this strange transformation into zombies. Unfortunately, the zombies from above ground have made their way into the bunker.
I'd love to have a beer with Bub! He was an unexpected bonus and added some much needed levity.. oddly enough he was a better representative of humanity than all of the non zombies put together!
While I found the film to be a tad bit too "Chatty Kathy" for my taste and not having enough zombie carnage in the first 2/3 of the film.. I'm happy to report that the carnage in the last act will give the gorehounds something to really sink their teeth into!
The zombies will stop at nothing for juicy human flesh! And if you get in their way, your Achilles tendon will become their floss!
Day of the Dead is without a doubt the strongest installment in the Trilogy of the Dead. Yes, you heard that right, it's the best one yet. What a gorefest! This marks my first time watching it and needless to say, it will also be my last. There is no way in hell would I want to re-experience the dread this film has cast on me, no fucking way. Never had I encountered a film this intense, this emotionally draining. Oh jesus, mary, and joseph, my head hurts! The climatic…
Is this the results you've been talking about? Is this what your research is all about? Make them do tricks? Train them like dogs?
While George Romero has said it was his favorite of the Dead films, most fans feel quite differently. Day of the Dead, the bastard step-child of Night of the Living Dead and Dawn of the Dead, grows on me more and more with each viewing. I'm now convinced it would be a masterpiece of sorts if it wasn't for some questionable acting sprinkled through out.
Surprisingly it isn't Joseph Pilato's larger then life portrayal of Captain Rhodes that bothers me. In fact I think he's one of the highlights of…
That's the trouble with the world, Sarah darlin'. People got different ideas concernin' what they want out of life.
In some areas more capable than its predecessors, Day of the Dead is a a zombie film that easily conjures up the feeling of claustrophobia whilst still keeping a focus on the external horror of the apocalypse. This one takes the mid-point between the last two, returning to the level of seriousness developed in Night but keeping the general aesthetic of Dawn. The story involves a scientist team being protected by an army unit in an underground base as a last effort to find out how to stop the zombie epidemic. Since the story is mostly taking place in…
Tom Savini, a special makeup effects genius. T-Dog's Jamaican uncle. A drunk guy who can shoot straight. Bub the world's smartest Zombie. Romero doing what he does best: Making a zombie film not about zombies, but about raw human emotion. Romero's most underrated film.
Not a single ounce of bullshit. Just sad, scared, furious people cramped together in a grey, shitty bunker. Everything feels just vaguely fake, their costumes, the acting, this apocalypse, but it isn't damaging. It becomes a strength, a sort of direct ideal that makes this would-be end times utterly matter-of-fact. It's the unique Romero touch; Romero acting is unlike that of any other director, and nearly indescribable. Everyone seems (appropriately) tired, the dialogue is somewhere between ironic quips and naturalistic banter. So what makes this the extreme masterpiece it is? Something to do with the true desperation: those chasms of negative space, blank walls, the man clutching his cross, the wakings from nightmares, the glimmers of hope for civility (a zombie reveling in Beethoven), the ending that only doubles down on desolation.
An egregiously overlooked response to 1980s reactionary Reaganite cinema.
In the conclusion of his first "living dead" trilogy, Romero crafts a masterpiece in the postmodern tradition, mixing the "high-" ideological critique of social order status quo and "low-art" blood and guts aesthetics.
Keeping with Romero's psycho-socioeconomic metonym – the "living dead" – Day presents the audience with a complicated view of what, or who, the zombies are in relationship to the film's human characters, as they re-create the rules of the ruinous society above ground. Through its over-the-top masculinity, militarism, misogyny, and racism, the film examines human relationships within contemporary patriarchal consumer-capitalist society.
In the final analysis, the zombies here are us, the bare foundations of "civilization." Consumption and domination, punishment and reward, conditioned behavior.
About the most interesting thing in this film is that some of the zombies evolve in intelligence. Everything else about this film is superfluous, gratuitous and generally terrible.
''CHOKE ON 'EM! CHOOOKE ON 'EEEM!''
I can't really understand all the hate the last part or Romero's trilogy gets.
As far as a zombie movie gets, I haven't seen a movie that contains zombies that look and sound even nearly as good as in this movie. Overall Savini's effects are a-m-a-z-i-n-g. Often I asked myself how back in eighties people managed to actually do something like Rhode's death scene. One of the best examples why CGI in horror movies will always look like shit!
Looking past the awesome gore, it's indeed gets quite weaker than ''Night'' and ''Dawn'', while this time around there are actually some memorable characters like awesome Captain Rhodes (who will remain my favorite character in…
Between an awful score and unfortunately butchered script, Romero does make a fairly compelling tale of cabin fever, insanity and violence within a bunker. And Savini and Nicotero absolutely fucking killed it with the SFX. Out-bloody-standing.
Bub and Rhodes are so great and Rhodes' death is one of my favourites in all of cinema.
"Choke on theeeem! CHOOOOOKE OOOONNNN 'EEEEEEMMMMMM!!!"
Viewing Romero's zombie trilogy as a single unit a progression can be seen that shifts the forces of evil from the flesh eating undead to the actual human survivors. The trajectory is hinted at in the closing scene of Night Of The Living Dead, and then further developed in Dawn Of The Dead. But it comes to fullness with the third installment, Day Of The Dead, where an underground military installation finds soldiers and scientists performing horrific experiments on the zombies in an attempt to learn how to "train" them so that humans can potentially live among them.
The problem with Day Of The Dead is that where this was more of a journey for the audience in the first…
To me, one of the true masterpieces of cinema. So rhythmic-musical-atmospheric, so balanced (structurally and tonally, between action and dialogue, praxis and theory, humor and graveness, horror and sentiment, feeling and attitude and intelligence). Horror is to be ripped apart by a zombie, indeed, but so is to live in a multiplicity of narrow-mindedness.
A group of human scientists and military men are holed up underground as zombie apocalypse ensues above ground - but how long can they stay civil with each other? Romero's third Dead movie makes a commendable effort at digging into the psychology of the premise, but comes undone
when every character is a silly one dimensional caricature. Yucky make-up effects by Tom Savini (with the help of Greg Nicotero), and Bub the (good?) zombie both are the best features of the film.
I tend to agree with Ebert about the overacting in Romero's third Dead film overshadowing even the zombies, if not the lovingly lingered on, putrid gore of the last 20 minutes; essentially, it's a good thing there's not an ounce of intentional comedy in this one because there's unintentional enough to go around.
There's still a lot to love though: the unremittingly grim tone, laser narrative focus and claustrophobia, the climax's carnage, the wonderfully synth-y 80's score that's sure to delight anyone who loves that sort of thing, and Howard Sherman's dedicated performance as "Frankenstein's" pet zombie who provides a couple of surprisingly affecting moments. Way, way too much shouting though, which leads to unwanted laughs breaking the rictus grin.
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- The Changeling
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