Which is not to say that Snyder's 2004 remake of George Romero's 1978 movie of the same name, also called Dawn of the Dead, is not stylish. The first 12 minutes set the tone for the rest of his career, and the opening title sequence is one of the best in the history of the genre. This intro is a great physical counterpoint to the movie that "Dawn of the Dead" is often compared to: Danny Boyle's "28 Days Later," mostly because both movies have zombies that move quickly.
Although the remainder of "Dawn of the Dead" never quite lives up to the promise shown in these opening scenes, the screenplay written by James Gunn, who would go on to helm "Guardians of the Galaxy," manages to keep things fascinating all the way through. It is important to point out that remaking a masterpiece is a recipe for disaster ("disaster" being something that Snyder would again court when tackling the work of Alan Moore and the entire DC universe), but by avoiding Romero's social commentary, Snyder was able to carve out his own space in the cinematic zombie universe.
With Netflix's "Army of the Dead," he hopes to return to the genre in 2021.
Set in a post-apocalyptic Zombie apocalypse brought on by the enigmatic street narcotic "Natas." We follow one guy as he hunts down Flesh Eaters for fun and atonement while simultaneously trying to escape his past.
He decides to assist a small group of survivors who are fast running out of resources after colliding with them. The Hunter's powers are put to the test as the flesh-eating Flesh Eaters attack them unexpectedly.
The trailer for Zombie Hunter makes it seem like the kind of bloody B-movie fun that everyone would love seeing. We're curious to see how director K. King pulls off an homage to the grindhouse style of films like Machete and Planet Terror. With the eye-catching poster, the marketing team has done an excellent job.
#NowWatching "Zombie Hunter Movie Review" from @DeckerShado! https://t.co/cNZGAbVhPI #moviereview #movies
— Sluts and Guts (@sluts_guts) June 15, 2022
In Little Monsters, Lupita Nyong'o, an actress known for her somber plays, takes on a more lighthearted character. She may be teaching a kindergarten class that meets a zombie outbreak while on a field trip, but it appears like she's having a blast. The 2019 movie was the actress's second foray into the horror genre that year (the first being Jordan Peele's more well-known "Us").
However, she is more than capable of completing the assignment. The video is "dedicated to all of the kindergarten teachers who push children to study, imbue them with confidence, and save them from being eaten by zombies," as the official press notes characterize it. Yes, I believe that adequately explains everything. In "Little Monsters," Josh Gad plays an annoying, famous child entertainer, and Alexander England plays an effete, has-been musician who is escorting his nephew on a field trip and who also happens to be in love (or maybe lust) with Lupita Nyong'o. Both of these characters are accompanied by Nyong'o. "Little Monsters" was released in 2014.What you get is an intriguing mix of horror and romantic comedy that breathes fresh life into both genres.
Since then, zombies have shown no signs of slowing down. (Some have even developed the ability to run.) In the cinematic industry, zombies have made their way into found footage ([REC]), rom-com (Warm Bodies), and grindhouse throwbacks. The Walking Dead is the most prominent example (Planet Terror).
At the same time, a new genre was established thanks to Romero's writings and swiftly went global.
Lucio Fulci, a legendary figure in Italian horror, took the idea and ran with it, first in his sequel Zombi (also known as Zombi) and then in his experimental and wildly surreal "Gates of Hell" trilogy.
Dan O'Bannon, Fred Dekker, and Stuart Gordon came along and played with the rules of the genre. They were fans of Romero's work who used his work as a base to explore and expand what a zombie movie could be. Then, as quickly as the zombie trend took off, it went out of style.
Outside of continuous horror sequels (Return of the Living Dead, Zombie), low-budget fright pictures, and the rare genre oddity (My Boyfriend's Back, Cemetery Man, and Dead Alive), the undead no longer roamed the earth.Where to start? White Zombie was the first feature-length "zombie" horror film, popularizing Haitian voodoo zombies decades before George Romero.
White Zombie is currently accessible for watching on YouTube, and it can also be found in practically any cheap zombie movie collection. Bela Lugosi plays a witch doctor called "Murder" since the studio was only a few years away from discovering subtlety at the time. Lugosi had just been a year away from being one of Universal's go-to horror performers after his appearance in Dracula.
Lugosi, who looks like Svengali, uses his different potions and powders to turn a young woman who is about to get married into a zombie so that she will do what a cruel plantation owner wants her to do, and... well, it's pretty dry and wooden stuff. Lugosi is, as you might expect, the best part, but I guess you had to start somewhere. After White Zombie, a number of other voodoo zombie movies came out of Hollywood. Most of these movies are now free to watch online.
Obviously, the film also influenced Rob Zombie's musical work. It appears prominently on several "greatest zombie film" lists, but let's be honest: this is not a film that most viewers would enjoy seeing today 2016. It is ranked 50th mostly due to its historical importance.
Planet Terror is the better half of Robert Rodriguez's Grindhouse double-bill with Quentin Tarantino. It's about a go-go dancer, a bioweapon gone wrong, and Texan villagers converted into pustulous monsters. Planet Terror embraces its B-movie origins with missing reels, rough cuts, and hammy overdubs.
In the end, the severed arm of Rose McGowan's character Cherry Darling is replaced with a machine gun in a ridiculously entertaining climax with lots of blood and oozing effects. Gather around, people, because I want to use your brains to grow mine.
Poultrygeist: Night of the Chicken Dead seems to have aspects characteristic of Troma films. It will be a mountain of trash. It will get really bloody. There will be no aesthetic restrictions or considerations. As with every previous Troma film, the real question is whether you find it boring. In this instance, "absolutely not" is the correct answer.
It's billed as a "zom-com musical," and it's even a little bit witty in its social satire of consumer society — you know, in an obvious kind of way. But does it really explain why you're seeing a movie about zombie chickens that come to life in a KFC-style restaurant that was constructed on top of an old Native American burial ground? It didn't seem likely to me. When you see a movie made by Troma, you should be prepared to enjoy some thoughtless narrative along with the gore, scatological comedy, and cheap production qualities that come along with it.
Poultrygeist, as a consequence, is merely 103 minutes of filthy, nasty, raunchy lunacy.
While zombie movies have existed for more (this site) than 80 years (in 1932 we had White Zombie, in 1943 I Walked With a Zombie), it’s largely recognized the subgenre as we know it today didn’t develop until 1968, when George A. Romero released Night of the Living Dead.
Night, an indie film with a budget little over six figures, captivated viewers with its unsettling story, horrific violence, progressive casting, societal criticism, and, of course, its iconic hordes of gaunt, ravenous zombies. Romero, the undisputed master of the zombie genre, produced five additional films in the Dead series, the greatest of which are reviewed here.
In spite of Night of the Living Dead's impact, it took some time for the picture to percolate and develop clout in the public's mind before a slew of notable American zombie films emerged in the late 1970s and early 1980s. Shock Waves may have been the first of all the "Nazi zombie" films, arriving just before Dawn of the Dead massively enhanced the appeal of zombies as horror adversaries.
The film depicts a group of shipwrecked people who get themselves on an unknown island where a sunken SS submarine has released its crew of zombies, a Nazi experiment. The same year he sneered at Princess Leia in Star Wars: A New Hope, Hammer Horror veteran Peter Cushing appears as a miscast and addled-looking SS Commander. It doesn't seem conceivable.
Since then, there have been at least 16 Nazi zombie movies (definitely more than one may imagine), making this one noteworthy for being the first to combine the portmanteau of renowned cinematic antagonists.
Shock Waves influenced films like Dead Snow.
Colm McCarthy's adaptation of Mike Carey's book The Girl With All The Gifts is a brilliant and nuanced remake, with genre thrills to match.
This zombie outbreak is caused by a fungal infection, just like the one that killed everyone in the movie The Last of Us. The story is about Melanie, a young girl who is being taught in a unique way by Gemma Arterton's character, Helen, in a very safe place.
Melanie is a'second-generation' hungry; she desires human flesh but also has the ability to think and feel, and her sheer existence may hold the key to survival.
The Draugr, an undead monster from Scandinavian legend that ferociously defends its treasure trove, is included into this splatter-fest, giving it a Nordic take on the standard zombie. In the case of Dead Snow, the draugr are former SS troopers that harassed a Norwegian hamlet and robbed their things before being killed or driven into the frigid mountains by the people.
Certainly, this earns Dead Snow uniqueness marks. It is also an extremely humorous, bloody, and satisfyingly violent film with aspects of Evil Dead and "teen sex/slasher" films. And if you enjoy it, there's more to come in Dead Snow: Red vs. Dead, the sequel.
The Dead Next Door is one of those rare movies when the tale behind the movie is more interesting than the movie itself. The film was produced by Sam Raimi, who used the profits from Evil Dead II to help his friend J. R. Bookwalter realize his vision of a low-budget zombie epic. Despite the fact that the whole picture seems to have been redubbed in post-production, Raimi is listed as an executive producer under the moniker "The Master Cylinder," and Evil Dead's Bruce Campbell does double duty by providing the narration for not one but two different characters. Even without considering the fact that the whole picture was filmed on super 8 rather than 32 mm, it's clear that this contributes to The Dead Next Door's air of dreamy unreality.
The Dead Next Door, then, offers something unprecedented in this genre: A grainy, low-budget zombie action-drama with cringe-inducing amateur acting performances and surprising hints of polish.
You're not watching this one for the storyline; you're watching it for the gore. The premise centers on a "elite squad" of zombie exterminators who stumble onto a cult that worships zombies, but you're not watching this one for the plot. The Dead Next Door sometimes feels like a backyard attempt to replicate the demented bloodletting seen in Peter Jackson's Dead Alive, except with genre references that are so on-the-nose you can't help but laugh at them. The film seems to have been made as an excuse to simply practice blood effects and practical decapitations. "Dr. Savini"? "Officer Raimi"? "Commander Carpenter"?
They are all present in this zombie movie, which gives off the impression that it was never intended for anybody other than the director's family members to see it. Nevertheless, there is a certain allure to the amount of sloppy closeness that was shared.
The rise of zombie films to public popularity has been an intriguing journey. For many years, the monsters were mostly known via voodoo legend, radioactive humanoids, and the iconic artwork of E.C. comics. They did not have much of a presence or description elsewhere. Zombies did not appear very often, and when they did, they did not resemble the cannibalistic, flesh-hungry, undead monsters that we are familiar with and have come to adore today.
Cemetery Man (or Dellamorte Dellamore), directed by Dario Argento apprentice Michele Soavi, is a strange, chaotic head trip of a film that sees the living dead as more of a nuisance than a lethal menace. Cemetery Man stars Everett as Francesco Dellamorte, a misanthropic gravedigger who loves the company of the dead to that of the living, and is based on the comic strip Dylan Dog. Why wouldn't he, after all? The living are jerks who keep spreading stories that he's powerless.
There is one catch, however: the deceased will not remain buried in his cemetery. When he meets a beautiful widow (Falchi) at her husband's burial, Dellamorte falls head over heels for her, romances her in the gloomy corridors of his ossuary, and before they know it, they're naked and steaming it up on top of her husband's grave. That's only the beginning of the strangeness.