Few directors have had as profound effect on the horror genre as writer/director George A. Romero and his contributions to the zombie genre are legendary so it is with great excitement that I can talk about his latest zombie epic is his ever expanding …Dead series Survival of the Dead. Not so much a direct sequel to the previous film Diary of the Dead but a spinoff as it features one minor character from that film and expands upon his story.
This new film follows Nicotine Crocket (Alan Van Sprang) and his fellow soldiers who have gone AWOL do to the world going to the zombies. He and his platoon are now just trying to survive in a world overrun by zombies which means stealing and looting from those who are unfortunate enough to come across their path. Their luck may have changed when they come across the possible safe refuge of Plum Island only when they get there they realize that the residents of the island have their own civil war going on. Ever since the dead began to rise from the grave the two Irish clans that populate the island the O’Flynns and the Muldoons have been killing each other. The O’Flynns wants to kill the dead no matter who it is to protect the living whereas the Muldoons wish to preserve the dead in the hopes that a cure be found and if not a cure than a means in which to get the dead to eat something other than other humans. When Crocket and his team get to the island he realizes that he is caught in the middle of a war that will have consequences on all sides.
Fans of the zombie genre may be a tad disappointed by the film as there is very little zombie massacre to be had. Instead this film is a character study between three sides of one of the most important questions in regards to what should be done if a zombie apocalypse was to ever happen. How much “humanity” do we lose when the world becomes a living hell? And can the dead be domesticated?
Romero’s film is filled with the same humor displayed is his Dawn of the Dead especially in terms of the way in which the zombies are killed. This is a highlight of the film as Romero has been a tad too serious with the last two …Dead films. This film has a lot more humor despite the social commentary that is abound in a Romero film. Fans and critics who dismissed his last film for it being too apparent with the social commentary (the film was criticized for being two transparent and repetitive) don’t have to worry about this film as Romero has a lot more fun with the material and it makes for one great entertaining ride. This film will also keep gore hounds happy as it is a Romero film and gore can be found everywhere, it just has more of a sense of humor.
Produced for an estimated $4 million (more than his previous film) it’s surprising that the film wasn’t given a wider release although it did preview a month earlier on VOD, Amazon, etc. for download which is fast becoming the norm for indie films in order to recoup costs. Considering that the popularity of zombie films have been on the rise it’s hard to imagine why this film (especially since it’s a Romero film) didn’t get a wider release. Regardless, it’s a thought provoking and entertaining zombie film that will definitely find an audience once it hits DVD.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Showing posts with label George A. Romero. Show all posts
Showing posts with label George A. Romero. Show all posts
Wednesday, September 8, 2010
Saturday, May 29, 2010
Horror 2010 - The Body Count So Far!
HORROR 2010 – THE BODY COUNT SO FAR
With the remake of A NIGHTMARE ON ELM STREET (2010) soon leaving the box office to make way for the summer blockbusters and the impending release of the most anticipated horror film of the summer SPLICE just around the corner it’s time to take a look at the horror films thus far released in 2010. The box office info was obtained from the website of Box Office Mojo (www.boxofficemojo.com).
1. SHUTTER ISLAND ($127.6 million) – This Martin Scorsese back to terrifying form after a long hiatus since his remake of CAPE FEAR. Although this film had trouble finally making it to the big screen after several changes in release dates, the long delays did not hamper the success of the film and it is, in fact, one of the highlights of 2010 whether horror film or not.
2. THE WOLFMAN ($62 million) – This film was plagued with all types of problems from the moment it was announced to be in production to its final release and although it had a healthy opening weekend subsequent weeks proved that there was little audience for this overblown remake. It was all action and no heart. Now that the film is being released in a longer version on DVD there is hope that audiences will finally be able to see the film in a more complete form.
3. A NIGHTMARE OF ELM STREET (approx. $60.6 million) – Although this remake has been one of the most profitable in recent years it also boasts one of the worst reactions by fans. It’s steep attendance drop from week 1 to week 2 of release was a disaster giving the film one of the worst second week percentage drops of any other film this year. It seems that fans were not inspired by this timid remake.
4. LEGION ($40.2 million) – This action-religious-horror film left many scratching their heads as it was neither a true horror film and neither a true action film. It had its successful moments but these were few and far in between leaving many genre fans just waiting for it to hit DVD rather than waste the time at the box office.
5. THE CRAZIES ($39.1 million) – A remake that fans actually liked. Although the film only did mediocre business fans enjoyed the update of George A. Romero’s original infectious disease tail. This update was suspenseful and effective on many levels and was different enough from the original to not be openly compared.
6. DAYBREAKERS ($30.1 million) – One of my favorites of the year that did not translate into huge box office success. This was more an intelligent action film when fans were looking for a horror film (especially after being assaulted by the likes of THE TWILIGHT SAGA: NEW MOON last year). This film also had release troubles and it didn’t help that it was over shadowed but the juggernaut that was AVATAR. This is still one of the best horror films of the year as well as one of the best vampire films in the last few years (this coming from someone who doesn’t particularly like vampire films).
7. REPO MEN ($13.8 million) – Some may ask why I include this sci-fi hybrid on this list but let’s not discredit this highly violent film that documents the horrors of a future in which a repo man can rip the heart out of a still living human being. This is a horror film if there ever is one plus it’s interesting to compare this film with the similarly themed REPO: THE GENETIC OPERA from last year.
8. HUMAN CENTIPEDE (FIRST SEQUENCE) ($115,186) – Although it’s only had a limited release, this film has had a polarizing effect of audiences everywhere (including those who were lucky enough to see it while it was in film festivals). Critics either love or loathe this film which is mark of some of the best indie horror films. Any film that can divide an audience as much as this one is good in my book.
9. AFTER.LIFE ($108, 595) – This ghost story boasts an incredible cast from an all new voice in horror as this was the director’s debut film. Despite the limited release the film got very good reviews and there is hope that when the film finally reaches DVD that it will find its audience.
10. BEST WORST MOVIE ($31,208) – Who said that documentary films had to suck? This documentary of the legacy of the infamous TROLL 2 has gotten great reviews from audiences at film festivals everywhere and it’s a miracle that the film was even given a limited theatrical release. Despite this I’m assured that the film will find an audience just like the original film it is based on.
There have been several other horror films released theatrically in 2010 but Box Office Mojo does not always track all the limited release films. Despite this info 2010 has been a very limited year thus far for the horror genre and there is hope that things will change once we get into the end of summer (when horror films are more plentiful).
With the remake of A NIGHTMARE ON ELM STREET (2010) soon leaving the box office to make way for the summer blockbusters and the impending release of the most anticipated horror film of the summer SPLICE just around the corner it’s time to take a look at the horror films thus far released in 2010. The box office info was obtained from the website of Box Office Mojo (www.boxofficemojo.com).
1. SHUTTER ISLAND ($127.6 million) – This Martin Scorsese back to terrifying form after a long hiatus since his remake of CAPE FEAR. Although this film had trouble finally making it to the big screen after several changes in release dates, the long delays did not hamper the success of the film and it is, in fact, one of the highlights of 2010 whether horror film or not.
2. THE WOLFMAN ($62 million) – This film was plagued with all types of problems from the moment it was announced to be in production to its final release and although it had a healthy opening weekend subsequent weeks proved that there was little audience for this overblown remake. It was all action and no heart. Now that the film is being released in a longer version on DVD there is hope that audiences will finally be able to see the film in a more complete form.
3. A NIGHTMARE OF ELM STREET (approx. $60.6 million) – Although this remake has been one of the most profitable in recent years it also boasts one of the worst reactions by fans. It’s steep attendance drop from week 1 to week 2 of release was a disaster giving the film one of the worst second week percentage drops of any other film this year. It seems that fans were not inspired by this timid remake.
4. LEGION ($40.2 million) – This action-religious-horror film left many scratching their heads as it was neither a true horror film and neither a true action film. It had its successful moments but these were few and far in between leaving many genre fans just waiting for it to hit DVD rather than waste the time at the box office.
5. THE CRAZIES ($39.1 million) – A remake that fans actually liked. Although the film only did mediocre business fans enjoyed the update of George A. Romero’s original infectious disease tail. This update was suspenseful and effective on many levels and was different enough from the original to not be openly compared.
6. DAYBREAKERS ($30.1 million) – One of my favorites of the year that did not translate into huge box office success. This was more an intelligent action film when fans were looking for a horror film (especially after being assaulted by the likes of THE TWILIGHT SAGA: NEW MOON last year). This film also had release troubles and it didn’t help that it was over shadowed but the juggernaut that was AVATAR. This is still one of the best horror films of the year as well as one of the best vampire films in the last few years (this coming from someone who doesn’t particularly like vampire films).
7. REPO MEN ($13.8 million) – Some may ask why I include this sci-fi hybrid on this list but let’s not discredit this highly violent film that documents the horrors of a future in which a repo man can rip the heart out of a still living human being. This is a horror film if there ever is one plus it’s interesting to compare this film with the similarly themed REPO: THE GENETIC OPERA from last year.
8. HUMAN CENTIPEDE (FIRST SEQUENCE) ($115,186) – Although it’s only had a limited release, this film has had a polarizing effect of audiences everywhere (including those who were lucky enough to see it while it was in film festivals). Critics either love or loathe this film which is mark of some of the best indie horror films. Any film that can divide an audience as much as this one is good in my book.
9. AFTER.LIFE ($108, 595) – This ghost story boasts an incredible cast from an all new voice in horror as this was the director’s debut film. Despite the limited release the film got very good reviews and there is hope that when the film finally reaches DVD that it will find its audience.
10. BEST WORST MOVIE ($31,208) – Who said that documentary films had to suck? This documentary of the legacy of the infamous TROLL 2 has gotten great reviews from audiences at film festivals everywhere and it’s a miracle that the film was even given a limited theatrical release. Despite this I’m assured that the film will find an audience just like the original film it is based on.
There have been several other horror films released theatrically in 2010 but Box Office Mojo does not always track all the limited release films. Despite this info 2010 has been a very limited year thus far for the horror genre and there is hope that things will change once we get into the end of summer (when horror films are more plentiful).
10 Most Influential Zombie Films
When Cryptshow.Net creator Ron McLellen asked me to do an article of the ten most influential zombie films I was beside myself. I’m a huge admirer and follower of the genre from countries all across the world so choosing only ten films out of the hundreds available was going to be a daunting task. Which films to choose whether they are just plain excellent verses whether or not they’ve had an impact of the genre, this was going to be the hardest choice for me but I hope that the ten films I’ve chosen will suffice it for the most diehard of zombie fans, and if not, I invite criticism of all kinds.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
The zombie genre would not be what it is today without the success and influence of director George A. Romero’s original Night of the Living Dead (1968). Considered the grandfather of zombie films (although Romero considers his creature ghouls and not zombies) NOTLD gave cinema a true monster in the returned from the dead and walking around aimlessly craving human flesh creation. The zombie had appeared in cinema prior to this film but was never more popular until after the success of this film. In fact, many zombie films prior to NOTLD were played for humor while Romero’s film is played 100% straight with a growing sense of dread throughout. There is no zombie film produced today that does not owe a debt of gratitude to the influences that NOTLD has had on the genre.
Romero would again change the face of the zombie genre with his next zombie film Dawn of the Dead (1978). Whereas NOTLD was played straight, DOTD had its tongue played firmly in cheek. Romero has repeatedly maintained that this film was a live comic book which is evident from it’s over the top violence (the beginning massacre and following moments) and comic overtones (displayed especially at raiding of the mall montage and the climax of the film). Although the film has its comic moments it’s also a very polarizing film due to the film’s themes and political commentary throughout which is something that the zombie genre (and for that matter horror films in general) are not known for. Another influence that this film had on the genre is its international success. Because the film was co-produced by the Italian director Dario Argento, an international version (simply titled Zombi or Zombi, Dawn of the Dead) broke all kinds of Box Office records and opened the doors for other zombie films to be produced all over the world.
On the opposite spectrum of the zombie genre there was crafted Return of the Living Dead (1985) which took Romero’s zombie and turned it on its head. This film created the talking and sometimes intelligent zombie and gave them a purpose – “brains.” Played for laughs as well as scares this cult favorite gave future zombie productions a different type of zombie from the one that Romero made popular. This film also had a huge influence of the music for the zombie film (and horror films in general). Although the international version of Dawn of the Dead had the rock music of Goblin, it was ROTLD that made rock music popular in zombie films. Its album was a huge success at the time. The debate over talking or non-talking zombies would never be the same after the success of this film.
Due to the international success of DOTD, the Italian film market would forever change. To follow in the footsteps of that film was the in-name-only sequel Zombi 2 (aka Zombie) (1979) from acclaimed director Lucio Fulci. Returning to the original zombie from voodoo folklore this film has nothing to do with DOTD but it acts as somewhat of a prequel to the events in that film. Fulci’s film was brutal and gory with no limits and uncompromising in every way. This success of this film not only mad Fulci and international name to genre fans everywhere but also influenced the entire Italian horror film industry. After this film there were a plethora of zombie films that assaulted the international market under all types of relevant (and sometimes irrelevant) names. Fulci himself would direct three more highly influential cult favorites in City of the Living Dead (1980), The Beyond (1981), and House By the Cemetery (1981). The Italian film industry would never be the same again.
I would have to say that the most influential “traditional” zombie film would have to be director Wes Craven’s The Serpent & the Rainbow (1988). Based on the non-fiction book by Wade Davis is as psychological thriller on the origins of zombification, magic, voodoo, and an entire culture of people who “believe.” There has been no other film like it and I doubt there will be another. Although the film was a modest success at the Box Office its cult status is undeniable. Many of the more low-key and indie films borrow a lot more from the zombie conventions of this film rather than the more spectacular elements of all the films thus far mentioned. Although the film White Zombie (1932) has the distinction of being one of the first zombie films to feature “traditional” zombies its influences on the genre in no way out way those of Craven’s film.
If it’s splatter you want than it’s splatter you’ll get in director Peter Jackson’s over the top film Braindead (aka Dead Alive) (1992). Not only did this film introduce the world to Jackson but it also introduced to the world a more over the top and comedic approach to the zombie film which offered not only laughs and buckets of gore but a “real” plot and story to what could have easily become another throwaway zombie film. It’s also a “love affair” for not only zombie fans but horror fans in general as it was a film that openly paid homage to many of the films that came before it (long before Scream made it “cool” to do so). This film made it possible for other low budget films to be made. With the success of this film came a flood of low budget zombie splatter films (now a genre all its own) from all over the world (most notably from the shores of Japan whose films were way over the top and the zombie genre seemed to be everywhere) some for better and some for the worse.
In 2002 the zombie genre would again be changed forever with the release of 28 Days Later. Although now traditionally a zombie film, this film features the infected who are every bit a zombie except for the fact that they aren’t dead. This film also introduced the fast moving zombie, or more appropriately made them popular. This film broke all types of taboos in regards to the mainstream zombie genre not to mention the fact that it was shot on digital video giving the film a gritty and almost realistic aesthetic. This film also made “infected” people popular to include in the zombie genre when every other similar film before this one separated the two sub-genres. After this film became an international hit the shores were consumed with digital video filmed zombie films some of which have developed their own cult following.
Mentioning the popularity of fast zombies cannot be discussed without mentioning the most influential one of them all which is the remake of Dawn of the Dead (2004). Whereas 28 Days Later introduced the fast running infected, it was this film that introduced the real fast moving…no running zombie. This remake, at the time, was a rarity as it had many name actors attached (Sarah Polley, Ving Rhames, Mekhi Phifer, and Jake Webber, to name a few) in what could have been a Box Office dud considering that there had not been many zombie films that actually made a profit in years. This was a suspenseful and terror filled horror film that, while it paid homage to the original, was an original film all its own (the mark of how a remake should be made). The film was a huge Box Office success that not only made the zombie genre popular again but ushered in a new era of horror remakes (now all the rage over the past few years). The success of this film also made it possible for Romero to finally get financing for his next zombie film Land of the Dead (2005), which in my book was an excellent thing. There was no turning back now, the debate over fast verses slow moving zombies would forever change the face of the genre.
Despite what mainly people may think Resident Evil (2002) is one of the most popular and successful zombie franchises ever. It also happens to be based on one of the most popular horror video game series ever despite the fact that this first film in the franchise bares little resemblance to any of the games. A lot of the film’s popularity is due to the presence of star Milla Jovovich because at the time zombie films still weren’t as popular as they would become after the release of 28 Days Later and the remake of Dawn of the Dead. Despite the horror and terror of the film (which was slight) audiences loved the action and this film had plenty of it. Zombie films didn’t just have to be horror films but they could also be action films as well. Borrowing from the experience of playing the video game audiences had action and violence and loud music which brought the film to life. The success of this film has thus far spawned three sequels (the latest one due out in just a few months) as well as made it popular again to adapt video games for the big screen. There has also been an animated feature length film – Resident Evil: Degeneration (2008).
The final film on my list is Shaun of the Dead (2004). This hugely popular film introduced the world to the rom-com-zombie film (romantic-comedy-zombie). This loving homage to zombie films from Edgar Wright and Simon Pegg (who co-wrote the film) not only has all the requirements of the “Romero” zombie film but also throws in a dash of the romantic comedy as the main character Shaun (played by Pegg) is trying to fix his love life with his girlfriend while the events of the zombie apocalypse is just the background by which the film is played. There have been a few films of this nature (Zombie Honeymoon being the most well known and released the same year) but none have become as popular or as well loved as this film. There have been plenty of zombie comedies in the years following this film but none have been able to fuse the horror elements with those of comedy and the romantic comedy as well as this film (even though many films continue to try).
All of the zombie films discussed in this film have had a hand in shaping the zombie genre and many have even become cult classics. There are many other films that have had just as much an influence on the genre as these films and should be included on this list but these films are the ones that every self respecting zombie fan should be well versed in. Other notable films that could be included are The Evil Dead, Dead & Buried, Creepshow, Dead & Breakfast, Night of the Creeps, Lifeforce, Slither, Masters of Horror episode “Homecoming,” Prince of Darkness, White Zombie, The Beyond, [REC], Tombs of the Blind Dead, The Living Dead at Manchester Morgue, Children Shouldn’t Play With Dead Things, Shockwaves, Dead Snow, Fido, Planet Terror, and Poltrygeist, to name a few.
Saturday, May 22, 2010
Book Review: ZOMBIE HOLOCAUST: HOW THE LIVING DEAD DEVOURED POP CULTURE by David Flint
Let me just say that “I love zombie films.” Always have an always will ever since I was we little one pf the age of about thirteen and I saw Night of the Living Dead (1968) for the very first time. That film warped my fragile little mind (more because black and white films seemed scarier to me as a child than color films). So when I talk about David Flint’s book Zombie Holocaust: How the Living Dead Devoured Pop Culture it’s from the perspective of a zombie fan…first.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
In saying this I must also say that this book was made specifically for the zombie film fan as it covers a huge wealth of films (some of which even I’ve never seen). Even people who have even a vague knowledge of the zombie subgenre will enjoy this book. Flint packs in a lot of general knowledge about the zombie genre from its very beginning s with such films as White Zombie (1932) and Revolt of the Zombies (1936) to modern day films such as the Will Smith starring I Am Legend (2007) and American Zombie (2007), among others. It even touches on foreign zombie films and zombie memorabilia all in the hopes of displaying how the zombie has become such a huge part of pop culture.
There is no denying that the zombie has been embedded into our pop culture in a huge way from Night of the Living Dead lunch pails to Shaun of the Dead action figures (not to mention those for Dawn of the Dead, Day of the Dead, Resident Evil, and even the Living Dead Dolls) to any and all types of memorabilia and collectible. Flint’s book is not only broken up by time period but also other means as well dedicating a chapter to foreign films, gaming, television, and even online content. Although the book does not go into elaborate details, it does give a fascinating overview which will not only enlighten but entertain as well. Flint also problems a wealth of posters, photos, and memorabilia of a wide variety of films throughout the entire book with an added color section in the center as well.
If there is one thing I dislike about the book it is that sometimes it seems like it is just sprouting a bunch of names of films just to squeeze as many as it can in, which can be annoying if you want to know more about the films that are just mentioned in passing. Other than this the book is a very comprehensive book on the zombie genre and culture and a book that no true zombie fan should go without.
Thursday, October 22, 2009
IS ZOMBIELAND GOOD?
IS ZOMBIELAND GOOD?
It dawned on me that after I posted my comment about the film ZOMBIELAND I got a lot of backlash, so, a friend of mine (being both the writers that we are) told me that I should post a note about my opinions on the film (although now that I think about it he probably meant it as a joke).
First off, let me just say that I’m probably a bigger fan of the genre then most people as I have made it abundantly clear that I not only watch zombie films but I study them as well and unlike most audience members and friends of mine, I’ve seen zombie films from countries all over the world from New Zealand (BRAINDEAD), Australia (UNDEAD), Japan (JUNK, ONE-CHANBARA), Norway (DEAD SNO), France (OASIS OF THE ZOMBIES), Ireland (BOY EATS GIRL), UK (28 DAYS LATER, SHAUN OF THE DEAD), Italy (ZOMBIE), and countless others, so, suffice it to say that I’ve been exposed to a lot of different cultures and the way in which zombies have been portrayed over the years.
American zombie films have up until recently been relegated to only two types – those of the traditional slow moving variety and those of the fast moving, and with the exception of Georgia A. Romero (writer/director of NIGHT OF THE LIVING DEAD -1968) the slow moving have all but become extinct. Funny zombie movies have always been around (as it wasn’t until Romero’s influential NOTLD that the genre was even taken seriously) with such notable films as MY BOYFRIEND’S BACK, RETURN OF THE LIVING DEAD, DEATH BECOMES HER, NIGHT OF THE COMET, FIDO, AMERICAN ZOMBIE, and countless others.
When ZOMBIELAND was announced it was reminiscent to the successful UK film SHAUN OF THE DEAD (which coined the term “zomcom”) even though the filmmakers claimed in numerous interviews (from FANGORIA to RUE MORGUE magazine and beyond) that they were trying not to make a film in which characters throw records at zombies. The trailers for the film are actually a testament to the brilliant marketing plan for the film as it describes a fun and entertaining horror comedy. And the final result is all that and a bag a popcorn…but that’s all that it is.
I applaud the editor and the opening credits team for creating one of the best credit sequences since the one crafted for S7VEN or FIGHT CLUB but the problem is that the trailer was everything in the opening credits. That’s a little disconcerting considering it gives the impression that there will be zombie-madness and mayhem throughout the film. This is not the case.
For the first half of the film the filmmakers do a great job crafting a “road trip” film as we get to meet all the characters. The flashbacks for both the Woody Harrelson and Jessie Eisenberg’s characters do a great job in introducing how they ended up in the place that they are when the film begins but the two female characters’ flashback is nothing more than an incident in which we learn that they are con artists and at which case can take place at any time prior to the US becoming The United States of Zombieland. This is a great disservice to these characters especially when all the other scenes prior already show the audience that these two women are very cunning and smart. What was needed was a scene similar to that given to the other characters which is a flashback in which defines their reaction to the zombie plague.
The second half of the film is where everything falls apart. Most great road movies are all about the journey to the location but in this film when they get there they decide to go to “BM’s” house for rest and relaxation before going to the theme part where zombies have not over run. The concept for the film about of group of people coming together to find a place where zombies have not invaded is a brilliant concept. It’s one explored by Romero himself not only in his DAWN OF THE DEAD and DAY OF THE DEAD films (among others), but neither of those are in the “road trip” style of film (although DAWN starts off that way but spends most of the film at the mall). ZOMBIELAND was born to be a road trip film and while the characters are on the road it is a great film but the emergence of the “BM” characters destroys the momentum of the film to a dead stop (pun intended). The film then becomes a drab character film which doesn’t do much for the main characters other then suggest the fanboy appeal of the filmmakers to “BM.” The scene goes on for far too long and it just drags the movie (which is surprising since the running time is only 80 minutes).
And then for no good reason the two females (who displayed more common sense then the men throughout the rest of the film) go off on their own adventure to find the theme park by themselves in the middle of the night. These two females then persist in turning on every ride and light in the building as if they were ringing a dinner bell for the zombies. This is surprising since this tactic is used not once but twice earlier in the film as a means to “call” the zombies from their hiding place. This all goes contrary to how the females have been envisioned thus far. They go from cunning and smart at the beginning of the film to making every dumb decision a person can make by the end just so that Eisenberg’s character has someone to save at the end of the film and Harrelson has a bunch of zombies to kill.
The ending of the film has many great death scenes but by having his females “de-evolve” by the end of the film it does everyone a great disservice and cheapens the film as a whole by allowing it to become nothing more than a “fun” and “entertaining” film. It’s clear that the filmmakers are fans of the horror and zombie genres with their homage to everything from Romero’s DAWN OF THE DEAD, JACK BROOKS: MONSTER SLAYER (Harrelson makes for a great Jack Brooks), SHAUN OF THE DEAD, and numerous others but what ZOMBIELAND doesn’t have that those films do is a great screenplay with smart characters that are not only fun and entertaining but great films as well. ZOMBIELAND makes no excuses for being simply an entertaining joy ride but let’s face it, it’s neither original nor the best of what the genre has to offer so we shouldn’t look at it like it is.
Many of the people whom I’m talked with about the film do not watch many zombie films nor horror films at all for that matter and many have told me that they wouldn’t have seen it if it wasn’t marketed as a comedy (kudos to the marketing department), so, in their eyes it delivers the goods and let’s face it, the majority of movie goers don’t go to watch “good” movies at the theater, they go to be entertained and if there is one thing ZOMBIELAND does do well it is to entertain despite its many flaws.
Will ZOMBIELAND be a part of my “Best Of” list? – No, it will not as there are plenty of better films out there from all over the world but will I dismiss the film in its entirety? That depends upon how good the next zomcom is which I’m sure is right around the corner (or at least the sequel to this film) and how soon this one evaporates from memory in the meantime.
It dawned on me that after I posted my comment about the film ZOMBIELAND I got a lot of backlash, so, a friend of mine (being both the writers that we are) told me that I should post a note about my opinions on the film (although now that I think about it he probably meant it as a joke).
First off, let me just say that I’m probably a bigger fan of the genre then most people as I have made it abundantly clear that I not only watch zombie films but I study them as well and unlike most audience members and friends of mine, I’ve seen zombie films from countries all over the world from New Zealand (BRAINDEAD), Australia (UNDEAD), Japan (JUNK, ONE-CHANBARA), Norway (DEAD SNO), France (OASIS OF THE ZOMBIES), Ireland (BOY EATS GIRL), UK (28 DAYS LATER, SHAUN OF THE DEAD), Italy (ZOMBIE), and countless others, so, suffice it to say that I’ve been exposed to a lot of different cultures and the way in which zombies have been portrayed over the years.
American zombie films have up until recently been relegated to only two types – those of the traditional slow moving variety and those of the fast moving, and with the exception of Georgia A. Romero (writer/director of NIGHT OF THE LIVING DEAD -1968) the slow moving have all but become extinct. Funny zombie movies have always been around (as it wasn’t until Romero’s influential NOTLD that the genre was even taken seriously) with such notable films as MY BOYFRIEND’S BACK, RETURN OF THE LIVING DEAD, DEATH BECOMES HER, NIGHT OF THE COMET, FIDO, AMERICAN ZOMBIE, and countless others.
When ZOMBIELAND was announced it was reminiscent to the successful UK film SHAUN OF THE DEAD (which coined the term “zomcom”) even though the filmmakers claimed in numerous interviews (from FANGORIA to RUE MORGUE magazine and beyond) that they were trying not to make a film in which characters throw records at zombies. The trailers for the film are actually a testament to the brilliant marketing plan for the film as it describes a fun and entertaining horror comedy. And the final result is all that and a bag a popcorn…but that’s all that it is.
I applaud the editor and the opening credits team for creating one of the best credit sequences since the one crafted for S7VEN or FIGHT CLUB but the problem is that the trailer was everything in the opening credits. That’s a little disconcerting considering it gives the impression that there will be zombie-madness and mayhem throughout the film. This is not the case.
For the first half of the film the filmmakers do a great job crafting a “road trip” film as we get to meet all the characters. The flashbacks for both the Woody Harrelson and Jessie Eisenberg’s characters do a great job in introducing how they ended up in the place that they are when the film begins but the two female characters’ flashback is nothing more than an incident in which we learn that they are con artists and at which case can take place at any time prior to the US becoming The United States of Zombieland. This is a great disservice to these characters especially when all the other scenes prior already show the audience that these two women are very cunning and smart. What was needed was a scene similar to that given to the other characters which is a flashback in which defines their reaction to the zombie plague.
The second half of the film is where everything falls apart. Most great road movies are all about the journey to the location but in this film when they get there they decide to go to “BM’s” house for rest and relaxation before going to the theme part where zombies have not over run. The concept for the film about of group of people coming together to find a place where zombies have not invaded is a brilliant concept. It’s one explored by Romero himself not only in his DAWN OF THE DEAD and DAY OF THE DEAD films (among others), but neither of those are in the “road trip” style of film (although DAWN starts off that way but spends most of the film at the mall). ZOMBIELAND was born to be a road trip film and while the characters are on the road it is a great film but the emergence of the “BM” characters destroys the momentum of the film to a dead stop (pun intended). The film then becomes a drab character film which doesn’t do much for the main characters other then suggest the fanboy appeal of the filmmakers to “BM.” The scene goes on for far too long and it just drags the movie (which is surprising since the running time is only 80 minutes).
And then for no good reason the two females (who displayed more common sense then the men throughout the rest of the film) go off on their own adventure to find the theme park by themselves in the middle of the night. These two females then persist in turning on every ride and light in the building as if they were ringing a dinner bell for the zombies. This is surprising since this tactic is used not once but twice earlier in the film as a means to “call” the zombies from their hiding place. This all goes contrary to how the females have been envisioned thus far. They go from cunning and smart at the beginning of the film to making every dumb decision a person can make by the end just so that Eisenberg’s character has someone to save at the end of the film and Harrelson has a bunch of zombies to kill.
The ending of the film has many great death scenes but by having his females “de-evolve” by the end of the film it does everyone a great disservice and cheapens the film as a whole by allowing it to become nothing more than a “fun” and “entertaining” film. It’s clear that the filmmakers are fans of the horror and zombie genres with their homage to everything from Romero’s DAWN OF THE DEAD, JACK BROOKS: MONSTER SLAYER (Harrelson makes for a great Jack Brooks), SHAUN OF THE DEAD, and numerous others but what ZOMBIELAND doesn’t have that those films do is a great screenplay with smart characters that are not only fun and entertaining but great films as well. ZOMBIELAND makes no excuses for being simply an entertaining joy ride but let’s face it, it’s neither original nor the best of what the genre has to offer so we shouldn’t look at it like it is.
Many of the people whom I’m talked with about the film do not watch many zombie films nor horror films at all for that matter and many have told me that they wouldn’t have seen it if it wasn’t marketed as a comedy (kudos to the marketing department), so, in their eyes it delivers the goods and let’s face it, the majority of movie goers don’t go to watch “good” movies at the theater, they go to be entertained and if there is one thing ZOMBIELAND does do well it is to entertain despite its many flaws.
Will ZOMBIELAND be a part of my “Best Of” list? – No, it will not as there are plenty of better films out there from all over the world but will I dismiss the film in its entirety? That depends upon how good the next zomcom is which I’m sure is right around the corner (or at least the sequel to this film) and how soon this one evaporates from memory in the meantime.
Sunday, March 15, 2009
COMIC BOOK REVIEW: NIGHT OF THE LIVING DEAD (FantaCo) #1-4 & Prequel
COMIC BOOK REVIEW: NIGHT OF THE LIVING DEAD (FantaCo) #1-4 & Prequel
I rarely ever do reviews of individual comic books but this one warrant’s it since it has yet to be gathered into a graphic novel or trade paperback form. FantaCo’s official adaptation of the original 1968 film Night of the Living Dead is a testament to how a film adaption can go so right instead of so wrong (which is the norm). Having read many comic book adaptations of films (i.e. Batman, Willow, Darkman, Arachnophobia, Star Trek 6, and the list goes on and on) very few strive to be more then the film itself. This four issue prestige format series debuted in 1991 (even though I just recently got my hands on all the issues) from writers Tim Skulan & Eric Stanway, artist Carlos Kastro (with Eric Meheu), and letterer Mary Kelleher. Based on the original screenplay by George A. Romero & John Russo this comic book adaptation is a testament to great storytelling not only through words but through pictures and art.
Anyone who has seen the original film will know that there are many instances where very little dialogue is spoken as you watch the characters go through there personal revelations of a world plunged into the darkness of the undead. The film is everything from the film (most of the dialogue is lifted straight from the film) but the film also goes to a lot of the back story of the characters that is just hinted at in the film. When Ben tells Barbara his first encounter at the diner you see the events unfold in the comic and the Prequel issue shows you everything that happens to the Tom & Judy characters and the Coopers just before they arrive at the house.
Katro’s artwork is haunting at times and perfect for the unsettling imagery of the undead killing the living and the black & white artwork is a perfect compliment to the film. Some of the images are even more haunting on the page then in the film. I was reminiscing about the great artwork from the EC Comics era and how much Katro’s work mirrors that. And for those wanting to see a little color to their horror, the four covers to the issues are rendered in contrasting color tones (although the Prequel issue is still in black & white).
This is truly a great series to have in any collection, which is why it is a shame it hasn’t been collected as yet. FantaCo also produced only (non-related) issues in this series but it is Avatar that picked up the mantel by doing sequels to the landmark film (so be on the look out for those). Great film to comic book adaptations are rarely done right so it would be in your best interest to pick up this one.
I rarely ever do reviews of individual comic books but this one warrant’s it since it has yet to be gathered into a graphic novel or trade paperback form. FantaCo’s official adaptation of the original 1968 film Night of the Living Dead is a testament to how a film adaption can go so right instead of so wrong (which is the norm). Having read many comic book adaptations of films (i.e. Batman, Willow, Darkman, Arachnophobia, Star Trek 6, and the list goes on and on) very few strive to be more then the film itself. This four issue prestige format series debuted in 1991 (even though I just recently got my hands on all the issues) from writers Tim Skulan & Eric Stanway, artist Carlos Kastro (with Eric Meheu), and letterer Mary Kelleher. Based on the original screenplay by George A. Romero & John Russo this comic book adaptation is a testament to great storytelling not only through words but through pictures and art.
Anyone who has seen the original film will know that there are many instances where very little dialogue is spoken as you watch the characters go through there personal revelations of a world plunged into the darkness of the undead. The film is everything from the film (most of the dialogue is lifted straight from the film) but the film also goes to a lot of the back story of the characters that is just hinted at in the film. When Ben tells Barbara his first encounter at the diner you see the events unfold in the comic and the Prequel issue shows you everything that happens to the Tom & Judy characters and the Coopers just before they arrive at the house.
Katro’s artwork is haunting at times and perfect for the unsettling imagery of the undead killing the living and the black & white artwork is a perfect compliment to the film. Some of the images are even more haunting on the page then in the film. I was reminiscing about the great artwork from the EC Comics era and how much Katro’s work mirrors that. And for those wanting to see a little color to their horror, the four covers to the issues are rendered in contrasting color tones (although the Prequel issue is still in black & white).
This is truly a great series to have in any collection, which is why it is a shame it hasn’t been collected as yet. FantaCo also produced only (non-related) issues in this series but it is Avatar that picked up the mantel by doing sequels to the landmark film (so be on the look out for those). Great film to comic book adaptations are rarely done right so it would be in your best interest to pick up this one.
Thursday, September 18, 2008
Film Review: Creepshow 3
This is the sequel that no one wanted yet here we are discussing the in-name-only sequel to the George A. Romero and Stephen King anthology series. Originally inspired by EC Comics, CREEPSHOW was a landmark in horror film cinema blending both dark comedy and gut wrenching gore into one cohesive whole; CREEPSHOW 2 managed to capture the feeling of the original film but lacked the great storytelling of the first film. In this new film CREEPSHOW 3 everything that made the series what it is, is thrown out the window for this indie produced film.
The vignettes in CREEPSHOW 3, unlike in the previous two films, are loosely linked together by characters and situations. In one of the stories you have a disenfranchised teen who finds herself being thrust between dimensions by a remote control developed by the neighborhood inventor. There is also a story about serial killing stripper who discovers something more dangerous then her just down the street, and there is even a story with the inventor and his new fiancée whose students believe that she is a synthetic robot who will stop at nothing to prove it. This is just a sampling of the stories contained within this film as the filmmakers (directors Ana Clavell and James Glenn Dudelson, who both also contributed to the screenplay) clearly wanted to take the series into a new director by linking all the stories. This is actually the only good idea the filmmakers had with this film as the rest is a complete mess.
The film is neither funny nor scary but just hovers on being just gore-filled enough to keep the casual viewer from falling asleep during the films all to predictable stories and unoriginality. None of the comedy comes off as being funny or disturbing (as is befitting of most great dark comedies) and there is no suspense in the film whatsoever. The lack of suspense in the film goes to the fact that most of the film happens during the daytime in what appears to be an uninspired cinematographer in which all the images are washed out with no flare to interesting camera positions or movement. This horror film just comes off as being dull.
Another bad idea on the part of the filmmakers is the horrible animation used to show the “comic book” aspect of the film. Using computer CGI was a huge mistake as it looks like something a high school student put together on their fifteen-year old computer. Now I hate to come down on a film as much as I have on this one (although this is not the worst film I’ve ever seen) but the truth is that if you are a filmmaker extending upon an already successful franchise, there are some things that must be in the film in order to appease the fans (the people who end up buying or renting such films as CHILDREN OF THE CORN 7 or HELLRAISER 8) and if you don’t meet the fans’ expectation then don’t be disappointed with the bad reviews. It’s your own fault.
No fan of the first two films will enjoy this film and only the casual horror fan will even take notice. It’s an experience worth forgetting ever had.
The vignettes in CREEPSHOW 3, unlike in the previous two films, are loosely linked together by characters and situations. In one of the stories you have a disenfranchised teen who finds herself being thrust between dimensions by a remote control developed by the neighborhood inventor. There is also a story about serial killing stripper who discovers something more dangerous then her just down the street, and there is even a story with the inventor and his new fiancée whose students believe that she is a synthetic robot who will stop at nothing to prove it. This is just a sampling of the stories contained within this film as the filmmakers (directors Ana Clavell and James Glenn Dudelson, who both also contributed to the screenplay) clearly wanted to take the series into a new director by linking all the stories. This is actually the only good idea the filmmakers had with this film as the rest is a complete mess.
The film is neither funny nor scary but just hovers on being just gore-filled enough to keep the casual viewer from falling asleep during the films all to predictable stories and unoriginality. None of the comedy comes off as being funny or disturbing (as is befitting of most great dark comedies) and there is no suspense in the film whatsoever. The lack of suspense in the film goes to the fact that most of the film happens during the daytime in what appears to be an uninspired cinematographer in which all the images are washed out with no flare to interesting camera positions or movement. This horror film just comes off as being dull.
Another bad idea on the part of the filmmakers is the horrible animation used to show the “comic book” aspect of the film. Using computer CGI was a huge mistake as it looks like something a high school student put together on their fifteen-year old computer. Now I hate to come down on a film as much as I have on this one (although this is not the worst film I’ve ever seen) but the truth is that if you are a filmmaker extending upon an already successful franchise, there are some things that must be in the film in order to appease the fans (the people who end up buying or renting such films as CHILDREN OF THE CORN 7 or HELLRAISER 8) and if you don’t meet the fans’ expectation then don’t be disappointed with the bad reviews. It’s your own fault.
No fan of the first two films will enjoy this film and only the casual horror fan will even take notice. It’s an experience worth forgetting ever had.
Sunday, September 14, 2008
Graphic Novel Review: IDW's "Land of the Dead"!
The comic book publisher has made a name for itself in the comic book industry thanks to the break out success of Steve Niles’ first “30 Days of Night” series (and subsequent and endless sequels). It has now become one of the leaders in horror comics along side Dark Horse and even Marvel (especially with their ever growing Marvel Zombie titles). With there adaptation of George A. Romero’s LAND OF THE DEAD this is no exception. Now compiled into a graphic novel readers can see the full film in four color glory from artist Gabriel Rodriguez and writer Chris Ryall, with colors by Jay Fotos, and amazing covers by Chris Bolton.
If you’ve seen the film this book doesn’t stray much and in fact is the “Director’s Cut” of the film restoring scenes that were cut from the theatrical version of the film (but subsequently inserted back into the DVD version). Ryall does a capable job with the material but then again you can’t really improve on Romero’s writing; he does make the transition from film to comic book less noticeable like many other adaptations that I have read. It is Rodriguez’ artwork that makes the book stand out as it is a great companion to the material and both Romero and Ryall’s writing style. Although he does take some liberties with the representations of the actors, Rodriguez still manages to capture the feeling of each character regardless of what “actor” is playing the character. This is the greatest asset to the comic as if there had never been a film this book would still be a very good way to spend and afternoon reading.
The book, like the movie itself, is very fast paced and a quick read which is why it is better reading it in graphic novel form rather then as individual issues. Also with the graphic novel you get all of the covers by Bolton which are gorgeous and a work of art unto themselves. My only complaint is that there aren’t enough extras like character sketches or sample script pages or a forward or anything else that makes buying the graphic novel worth the extra bucks if you’ve already got the individual issues. Sadly none of the extras are present so this would be a redundant buy for those who already have the entire five issue series.
This is a small price to pay for one of the better graphic novel adaptations currently out there.
If you’ve seen the film this book doesn’t stray much and in fact is the “Director’s Cut” of the film restoring scenes that were cut from the theatrical version of the film (but subsequently inserted back into the DVD version). Ryall does a capable job with the material but then again you can’t really improve on Romero’s writing; he does make the transition from film to comic book less noticeable like many other adaptations that I have read. It is Rodriguez’ artwork that makes the book stand out as it is a great companion to the material and both Romero and Ryall’s writing style. Although he does take some liberties with the representations of the actors, Rodriguez still manages to capture the feeling of each character regardless of what “actor” is playing the character. This is the greatest asset to the comic as if there had never been a film this book would still be a very good way to spend and afternoon reading.
The book, like the movie itself, is very fast paced and a quick read which is why it is better reading it in graphic novel form rather then as individual issues. Also with the graphic novel you get all of the covers by Bolton which are gorgeous and a work of art unto themselves. My only complaint is that there aren’t enough extras like character sketches or sample script pages or a forward or anything else that makes buying the graphic novel worth the extra bucks if you’ve already got the individual issues. Sadly none of the extras are present so this would be a redundant buy for those who already have the entire five issue series.
This is a small price to pay for one of the better graphic novel adaptations currently out there.
Friday, August 15, 2008
George A. Romero's CREEPSHOW: THE WORK PRINT
Over the years there has been much talk about George A. Romero’s CREEPSHOW and what was cut out of the film to get it to its current 2 hour running time from the original 2 hour and 10 minutes director’s cut. I managed to get a hold of a “work print” copy of the film which restores the ten minutes of cut footage.
In the “work print” edition I have (which is in1.33: 1 full screen aspect ratio) it is a modest version of the film. The scenes that were cut seem to be simply be re-inserted in to the film by use of “dissolves.” This version would not be an actual spliced film version, but resembles a version that someone may have just downloaded the original television version to their computer and then put the cut scenes back then and used a dissolve to hide the splices. The cut scenes are of varying degrees of quality that never match up to the rest of the film and the audio mix for these new scenes is never correct so it feels sometimes as if the film is off cue sometimes.
All these complaints to the side (since this is an unofficial release version of the film) it is very interesting to see what footage was cut from the film. Most of the scenes that were cut from the release version of the film come from the very first segment of the film “Father’s Day.” There were many scenes explaining the father’s past and how he become a mogul that add more to why Aunt Bedelia killed her father which adds to her characters motivation and current state of mind. There are also small scenes cut from “The Lonesome Death of Jordy Verrill” and “Something To Tide You Over” but these scenes don’t really add much to the film. There is nothing added for “They’re Creeping Up On You” and a small blink or you’ll miss it segment returned to “The Crate.”
None of the subsequent segments are enhanced by the added scenes and point of fact they just bog down the film, so, I’m glad they were left out of the film to begin with. CREEPSHOW was a one of the kind anthology masterpiece that defied audience expectations and reactions and went on to become one of the landmarks in the anthology genre. Only the sequences returned to “Father’s Day” had any real impact on the film but even that is inconsequential as the film works so well without them in terms of pacing.
There are plans to release a Special Edition Anniversary Edition of the film later this year which is rumored to be returning this cut footage back into the film but if you already have the previous DVD version of the film save your money (unless of course you are like me and you’ve just been curious for all these years).
In the “work print” edition I have (which is in1.33: 1 full screen aspect ratio) it is a modest version of the film. The scenes that were cut seem to be simply be re-inserted in to the film by use of “dissolves.” This version would not be an actual spliced film version, but resembles a version that someone may have just downloaded the original television version to their computer and then put the cut scenes back then and used a dissolve to hide the splices. The cut scenes are of varying degrees of quality that never match up to the rest of the film and the audio mix for these new scenes is never correct so it feels sometimes as if the film is off cue sometimes.
All these complaints to the side (since this is an unofficial release version of the film) it is very interesting to see what footage was cut from the film. Most of the scenes that were cut from the release version of the film come from the very first segment of the film “Father’s Day.” There were many scenes explaining the father’s past and how he become a mogul that add more to why Aunt Bedelia killed her father which adds to her characters motivation and current state of mind. There are also small scenes cut from “The Lonesome Death of Jordy Verrill” and “Something To Tide You Over” but these scenes don’t really add much to the film. There is nothing added for “They’re Creeping Up On You” and a small blink or you’ll miss it segment returned to “The Crate.”
None of the subsequent segments are enhanced by the added scenes and point of fact they just bog down the film, so, I’m glad they were left out of the film to begin with. CREEPSHOW was a one of the kind anthology masterpiece that defied audience expectations and reactions and went on to become one of the landmarks in the anthology genre. Only the sequences returned to “Father’s Day” had any real impact on the film but even that is inconsequential as the film works so well without them in terms of pacing.
There are plans to release a Special Edition Anniversary Edition of the film later this year which is rumored to be returning this cut footage back into the film but if you already have the previous DVD version of the film save your money (unless of course you are like me and you’ve just been curious for all these years).
Saturday, March 22, 2008
Zombie Sequels & Remakes
In the world of horror there have been many genres that have left their mark from vampires to werewolves to even the mummy but none have been as influential as the zombie sub-genre. Held as one of the only original sub-genres of the cinema (as vampires and werewolves and the rest were first adapted from source material whereas the zombie film seems to have been crafted strictly for the cinema) zombie films hold an allure unlike any other genre. They present an all too human quality that other sub-genres lack since the undead represent former loved ones and more shockingly ourselves.
The genre seems to come and go through the ages with varying degrees of popularity but none so much as now which is why this is the perfect time to take a look at some of the best remakes and sequels to some of the best zombie films the genre has to offer.
Presented in alphabetical order we will first take a look at the recent sequel 28 Weeks Later (2007), which by all accounts improves on some of the problems of the first film and creates more suspense and unnerving moments. This film of disease-infected people is part of the new wave of zombie films in which the victims are still alive so some of the more traditional elements of the zombie film do not apply although it is apparent that the zombie is the creature from which the infected derived. The first film was such a success with audiences that this sequel was rushed into production. This film does sport some of the best action-horror sequences of any recent horror film with the pessimistic ending befitting a George A. Romero zombie film.
In Army of Darkness (1992) Ash (Bruce Campbell) returns to battle the deadites that have sent him back in time. Unlike the previous two films in the series, this film is more comedy than horror but some of the sequences are pulled straight from an EC Comic book and this film ends one of the most interesting of horror film series to ever come about. The same can be said of Creepshow 2 (1987), which although is not completely a zombie film it does present an undead hitchhiker in one of the stories and the spirit of a Native American in another. Both films are in the EC Comics style and provide just as many laughs as horror elements.
In Bride of the Re-Animator (1990) we get the comedy and we get the extreme graphic nature that plagued the original film. We also get Jeffrey Combs back as Herbert West who still hasn’t learned his lesson about reanimating the dead. The fun thing about these films is that the zombies here talk and move just like regular people. They’re just a little dead. This makes for one of the more interesting series in the genre (as there have been another film in the series Beyond Re-Animator with a proposed fourth film in the works).
Now we come to the films that have had the most profound effect on the genre which are the films of George A. Romero who crafted Dawn of the Dead (1978) and Day of the Dead (1985). Both films represent a continuation of the zombie outbreak with Dawn taking place just after the outbreak with a small group of people trapped in a strip mall and Day with a group of scientist and military personnel trapped in an underground bunker long after the outbreak has taken its effect on the world. Both films strived to be more than just your typical zombie film by commenting upon the decades in which they were produced. They were relevant then and the same holds true to this day and a lot of the basic conventions of the zombie genre we owe to these films and to Romero himself.
When we take a look at the remakes of some of Romero’s films we see a modern day sensibility that makes them relevant to today such as the 1990 remake of Night of the Living Dead which Romero wrote making it a film more in the tradition of the feminist mode with a main character who will not just stand still and be complacent. Although this film follows the basic plot of the original film, its sensibilities are vastly different creating an entirely different experience then its predecessor. In the 2004 remake of Dawn of the Dead the same can be said as the zombies take on a more ferocious temperament and are fast moving and extremely dangerous. The suspense is high and the film is a thrill-a-minute extravaganza. Both the originals and the remakes of these films are a testament to the malleability of the genre no mater what decade they were produced in.
In The Evil Dead II (1987) the grounds for both a sequel and remake can be seen as this film takes the events of the first film and represents them while also expanding upon what happens next after the first film’s conclusion. This film also was a vast change in direction for the series as the tone changed from hardcore horror film to comic book horror (of which would be greatly elaborated on in Army of Darkness). By the mid-‘80s more comedy was placed in horror films due to the popularity of the masked killers in slasher films and some of those sensibilities seem to have rubbed off on other genre films.
This includes the final film in this series which is Return of the Living Dead Part 3 (1993) which was a mixture of the story of Romeo & Juliet wrapped in a gore-filled zombie film played tongue in cheek (but not in the same way as say Return of the Living Dead Part 2). It also sports some effective special effects and production design better than the previous film and is more closely associated with the original film. Plus director Brian Yuzna has a knack of far exceeding audiences expectations with the countless films he has directed (which includes the above mentioned Bride of Re-Animator).
Although there are many more films that could be included on this list, this is just a sampling of the zombie films and franchises that has made the sub-genre what it is today. It is an ever evolving sub-genre that has its ups and its downs yet always finds a way to return from the grave.
The genre seems to come and go through the ages with varying degrees of popularity but none so much as now which is why this is the perfect time to take a look at some of the best remakes and sequels to some of the best zombie films the genre has to offer.
Presented in alphabetical order we will first take a look at the recent sequel 28 Weeks Later (2007), which by all accounts improves on some of the problems of the first film and creates more suspense and unnerving moments. This film of disease-infected people is part of the new wave of zombie films in which the victims are still alive so some of the more traditional elements of the zombie film do not apply although it is apparent that the zombie is the creature from which the infected derived. The first film was such a success with audiences that this sequel was rushed into production. This film does sport some of the best action-horror sequences of any recent horror film with the pessimistic ending befitting a George A. Romero zombie film.
In Army of Darkness (1992) Ash (Bruce Campbell) returns to battle the deadites that have sent him back in time. Unlike the previous two films in the series, this film is more comedy than horror but some of the sequences are pulled straight from an EC Comic book and this film ends one of the most interesting of horror film series to ever come about. The same can be said of Creepshow 2 (1987), which although is not completely a zombie film it does present an undead hitchhiker in one of the stories and the spirit of a Native American in another. Both films are in the EC Comics style and provide just as many laughs as horror elements.
In Bride of the Re-Animator (1990) we get the comedy and we get the extreme graphic nature that plagued the original film. We also get Jeffrey Combs back as Herbert West who still hasn’t learned his lesson about reanimating the dead. The fun thing about these films is that the zombies here talk and move just like regular people. They’re just a little dead. This makes for one of the more interesting series in the genre (as there have been another film in the series Beyond Re-Animator with a proposed fourth film in the works).
Now we come to the films that have had the most profound effect on the genre which are the films of George A. Romero who crafted Dawn of the Dead (1978) and Day of the Dead (1985). Both films represent a continuation of the zombie outbreak with Dawn taking place just after the outbreak with a small group of people trapped in a strip mall and Day with a group of scientist and military personnel trapped in an underground bunker long after the outbreak has taken its effect on the world. Both films strived to be more than just your typical zombie film by commenting upon the decades in which they were produced. They were relevant then and the same holds true to this day and a lot of the basic conventions of the zombie genre we owe to these films and to Romero himself.
When we take a look at the remakes of some of Romero’s films we see a modern day sensibility that makes them relevant to today such as the 1990 remake of Night of the Living Dead which Romero wrote making it a film more in the tradition of the feminist mode with a main character who will not just stand still and be complacent. Although this film follows the basic plot of the original film, its sensibilities are vastly different creating an entirely different experience then its predecessor. In the 2004 remake of Dawn of the Dead the same can be said as the zombies take on a more ferocious temperament and are fast moving and extremely dangerous. The suspense is high and the film is a thrill-a-minute extravaganza. Both the originals and the remakes of these films are a testament to the malleability of the genre no mater what decade they were produced in.
In The Evil Dead II (1987) the grounds for both a sequel and remake can be seen as this film takes the events of the first film and represents them while also expanding upon what happens next after the first film’s conclusion. This film also was a vast change in direction for the series as the tone changed from hardcore horror film to comic book horror (of which would be greatly elaborated on in Army of Darkness). By the mid-‘80s more comedy was placed in horror films due to the popularity of the masked killers in slasher films and some of those sensibilities seem to have rubbed off on other genre films.
This includes the final film in this series which is Return of the Living Dead Part 3 (1993) which was a mixture of the story of Romeo & Juliet wrapped in a gore-filled zombie film played tongue in cheek (but not in the same way as say Return of the Living Dead Part 2). It also sports some effective special effects and production design better than the previous film and is more closely associated with the original film. Plus director Brian Yuzna has a knack of far exceeding audiences expectations with the countless films he has directed (which includes the above mentioned Bride of Re-Animator).
Although there are many more films that could be included on this list, this is just a sampling of the zombie films and franchises that has made the sub-genre what it is today. It is an ever evolving sub-genre that has its ups and its downs yet always finds a way to return from the grave.
Friday, March 21, 2008
A Look Back At George A. Romero's THE CRAZIES (1973)
In the ‘70s there were very few films that dared to be as politically incorrect as this overlooked Georgia A. Romero film THE CRAZIES, or known in some places as TRIXIE (so named after the contagious disease that lies within). The film is about a small town that becomes under marshal law when a deadly government disease is released. As Col. Peckem (Lloyd Holar) and his men try to keep the town under quarantine and locked down a band of seemly uninflected people try to find a safe haven away from the chaos.
The disease TRIXIE turns people in to raving maniacs some in volatile ways and others in puts in a more euphoric state but there seems to be no cure except to get away as soon and as far as possible. David (Will MacMillian) and Judy (Lane Caroll) are among these survivors who watch in horror as the people they have known all their lives kill each other or are killed by American soldiers gripped in the fear of the outbreak. No matter how far the survivors seem to flee they soon realize to their horror that they aren’t really immune at all but that TRIXIE just takes longer to manifest in some people then in others and it is only a matter of time before they are all infected.
As there hold on the town seems hopeless, Col. Peckem must decide whether or not his hold over the town and holding back the outbreak is worth the risk of allowing the disease to go beyond the borders of the town.
This film was a wake up call to American audiences in that it foreshadowed bio-weapons, germ warfare, and infectious diseases such as Ebola and AIDS. Romero wanted to wake up America and he did so with this little film. Although the film was not as successful as his previous success NIGHT OF THE LIVING DEAD (1968) it solidified him as a horror auteur who did more then just craft horror films; he crafted thought provoking films that were meant to not only shock us but to keep us thinking and questioning the world long after the film was through.
The disease TRIXIE turns people in to raving maniacs some in volatile ways and others in puts in a more euphoric state but there seems to be no cure except to get away as soon and as far as possible. David (Will MacMillian) and Judy (Lane Caroll) are among these survivors who watch in horror as the people they have known all their lives kill each other or are killed by American soldiers gripped in the fear of the outbreak. No matter how far the survivors seem to flee they soon realize to their horror that they aren’t really immune at all but that TRIXIE just takes longer to manifest in some people then in others and it is only a matter of time before they are all infected.
As there hold on the town seems hopeless, Col. Peckem must decide whether or not his hold over the town and holding back the outbreak is worth the risk of allowing the disease to go beyond the borders of the town.
This film was a wake up call to American audiences in that it foreshadowed bio-weapons, germ warfare, and infectious diseases such as Ebola and AIDS. Romero wanted to wake up America and he did so with this little film. Although the film was not as successful as his previous success NIGHT OF THE LIVING DEAD (1968) it solidified him as a horror auteur who did more then just craft horror films; he crafted thought provoking films that were meant to not only shock us but to keep us thinking and questioning the world long after the film was through.
Saturday, February 16, 2008
Praise For George A. Romero's DIARY OF THE DEAD!
I thought I would never say this this close to the beginning of the year but "George A. Romero's DIARY OF THE DEAD is the Best Horror Film of the Year!" Romero is back with a vengeance doing what he does best which are zombie films. After the anemic LAND OF THE DEAD you wouldn't think he could pull his ass from the fire but he does just that with his new film and he does it in style. Although DIARY comes as the fifth film in the series it really should be considered the first as it tells the story of the zombie apocalypse as it first happens and he does it with more craft and knowledge then any of the previous films.
The thing that audiences will enjoy most about the new film is that Romero makes slow moving zombies scary once again and he puts the term "character" back into horror films. DIARY is by far the best horror film to be released in the past decade (along side THE DESCENT).
I was able to catch a screening of the film last night at one of the only two theatres screening it in Georgia. It was totally by accident but I'm glad I decided to stop because of all the films being released in the coming months (they screen trailers for just about every one of them prior to the film) none look even remotely as interesting or as original as this film. Although there may be echoes of BLAIR WITCH PROJECT and CLOVERFIELD do not be dismayed by the comparisons as DIARY still maintains that it is a "film" and not "found" footage therefore the "shaky cam" aesthetics of the former films are not present in this film and the story and characters contained within are just as harrowing as that depicted in Romero's NIGHT and DAWN films. This is truly a high watermark in American horror films as it not only ushers in the return of one of our greatest directors but renews or faith in American horror films as well.
The thing that audiences will enjoy most about the new film is that Romero makes slow moving zombies scary once again and he puts the term "character" back into horror films. DIARY is by far the best horror film to be released in the past decade (along side THE DESCENT).
I was able to catch a screening of the film last night at one of the only two theatres screening it in Georgia. It was totally by accident but I'm glad I decided to stop because of all the films being released in the coming months (they screen trailers for just about every one of them prior to the film) none look even remotely as interesting or as original as this film. Although there may be echoes of BLAIR WITCH PROJECT and CLOVERFIELD do not be dismayed by the comparisons as DIARY still maintains that it is a "film" and not "found" footage therefore the "shaky cam" aesthetics of the former films are not present in this film and the story and characters contained within are just as harrowing as that depicted in Romero's NIGHT and DAWN films. This is truly a high watermark in American horror films as it not only ushers in the return of one of our greatest directors but renews or faith in American horror films as well.
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