With the filmmaker of "Dawn of the Dead," it may be hard to reconcile the Zack Snyder of the "Justice League" #SnyderCut, the too accurate "Watchmen" adaption, and the style-over-substance pairing of "300" and "Sucker Punch."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.
The rest of "Dawn of the Dead" doesn't live up to the first few minutes, but the script by "Guardians of the Galaxy" director-to-be James Gunn keeps things interesting. It should be said that remaking a masterpiece was a recipe for disaster (something Snyder would do again when he took on Alan Moore's work and the whole DC universe), but by ignoring Romero's social commentary, Snyder was able to carve out his own corner of the zombie movie universe.
And Netflix's "Army of the Dead" in 2021 will bring him back to that corner.
The story takes place in a dystopian future where "Natas," a strange street drug, has turned people into zombies. As the story goes on, we follow one guy as he hunts Flesh Eaters for fun, to make up for his past, and to forget about it.
After seeing a small group of survivors who are running short on supplies, he resolves to assist them. A unexpected onslaught by the Flesh Eaters, however, causes them to flee and puts the Hunter's talents to the test.
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, who is often cast in dramatic roles, portrays a more humorous character. She may be teaching a kindergarten class on a field trip that encounters a zombie epidemic, but she looks to be having a fun. The 2019 film was the actress's second attempt into the horror genre, after Jordan Peele's better-known "Us."
But she's clearly up to the challenge. According to the official press notes, the video is "dedicated to all kindergarten teachers who push children to study, build confidence in them, and save them from being eaten by zombies." Yes, that pretty much wraps it up. "Little Monsters" also stars Josh Gad as an annoying, renowned kid performer, and Alexander England as an effete, has-been musician accompanying his nephew on a field trip who is also in love (or maybe lust) with Nyong'o.
The result is a unique combination of horror and romantic comedy that breathes fresh life into both genres.
Since then, there hasn't been a stop to the zombie outbreak. (Some of them have even learned how to run.) The most famous example is The Walking Dead on TV, but zombies have also been in found footage movies ([REC]), romantic comedies ([REC]), and homages to grindhouse movies (Warm Bodies) (Planet Terror).
Simultaneously, a whole genre sprung up around Romero's work that spanned the world.
Lucio Fulci, a titan in Italian horror, continued with the concept, first in his sequel Zombi (also known as Zombi) and later in his experimental and wildly bizarre "Gates of Hell" trilogy.
Zombie films had its foundations shaky before fans of Romero's work came along and tampered with the genre's conventions. Dan O'Bannon, Fred Dekker, and Stuart Gordon are just a few of the filmmakers who have done this in recent years. Soon after that, interest in zombies began to wane.
The undead had become a staple of horror films, but now they only appeared in sequels (like Return of the Living Dead and Zombie) and cheap B-movies like My Boyfriend's Back, Cemetery Man, and Dead Alive.Where else should we start? White Zombie was the first feature-length "zombie" horror film, as well as the first Hollywood popularization of Haitian voodoo zombies, decades before the current George Romero ghoul.
White Zombie is currently accessible to watch on YouTube, and it can also be found in practically any cheap zombie movie collection. Because the studio was still a few years away from establishing subtlety at the time, Bela Lugosi plays a witch doctor who is actually nicknamed "Murder." Lugosi had only been a year since his portrayal in Dracula cemented his reputation as one of Universal's go-to horror performers.
The Svengali-like Lugosi uses his various concoctions and powders to zombify a young bride-to-be in order to bind her to the will of a cruel plantation owner, and... well, it's fairly dry, wooden stuff. Lugosi is, of course, the greatest part, but I guess you had to start somewhere. White Zombie was followed by a slew of other Hollywood voodoo zombie films, the most of which are now accessible for free online.
Of course, the film had an impact on Rob Zombie's musical career. Some "best zombie movie" lists include it prominently, but let's face it: in 2016, this isn't a movie that most people would like. This object is ranked fifty on the list almost exclusively because of its historical significance.
Planet Terror is the better half of their Grindhouse double film, directed by Robert Rodriguez and co-written by Quentin Tarantino. The story follows a go-go dancer, a botched bioweapon, and the transformation of the residents of a tiny Texas hamlet into shuffling, pustulous monsters. The exploding tongue of Planet Terror is firmly planted in its rotten cheek as it embraces its B-movie roots with missing reels, sloppy editing, and hammy overdubbed dialogue.
It builds to a crazily entertaining conclusion in which Rose McGowan's protagonist, Cherry Darling, gets her amputated leg replaced with a machine gun. I'm going to consume your brains and absorb your information.
Poultrygeist: Night of the Chicken Dead is a Troma movie, so you can expect a few things. It will be a lot of garbage. It will get rough. It will have no limits and no sense of what is right or wrong. The real question, as with all Troma movies, is, "Is it boring?" In this case, the answer is "absolutely not."
The social satire of consumer society is quite subtle for a musical marketed as a "zom-com," if that makes any sense. Why, however, are you sitting in a movie about undead chickens who invade a KFC-like restaurant located on top of a Native American burial ground? Don't think so. Accepting the violence, scatological jokes, and shoddy production standards as part of the fun is essential to a Troma viewing, as does an appreciation for the thoughtless storyline.
As a consequence, Poultrygeist is just 103 minutes of filthy, gruesome, raunchy lunacy.While zombie movies have been around for more than 80 years (1932's White Zombie, 1943's I Walked With a Zombie), the subgenre as we know it today didn't emerge until 1968's Night of the Living Dead.
Independent film Night captivated viewers with its intriguing storyline, stunning gore, progressive casting, and social criticism, and its gaunt, ravenous undead. Romero created five additional Dead movies, including Dawn of the Dead and Day of the Dead.
Despite the influence of Night of the Living Dead, it was not until the late 1970s and early 1980s that a number of famous American zombie films were produced. Shock Waves may have been the first "Nazi zombie" film, released soon before Dawn of the Dead boosted the popularity of zombies as terrifying foes.
It is, in all honesty, a gloomy and slow-paced film throughout the majority of its runtime, and it follows a group of lost boaters who end up on a mysterious island where a sunken SS submarine has jettisoned its crew of zombies as part of a Nazi experiment. The film follows the group as they try to escape from the island. In the same year that he was mocking Princess Leia in Star Wars: Episode IV, Hammer Horror legend Peter Cushing makes an appearance in this film as a poorly miscast and addled-looking SS Commander. A New Hope? That seems impossible!
There have been at least 16 Nazi zombie movies since this point, which is probably more than one may expect, making this one notable for merging the portmanteau of famous cinematic villains for the first time.
Shock Waves is to thank for how well the Dead Snow movies did.
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.
The Last of Us-like fungal infection has transformed most of the populace into 'hungries' The plot centers on Melanie, who is taught by Gemma Arterton's instructor Helen in a heavily-armed institution.
Melanie is a'second-generation' hungry; she craves human flesh but is also capable of thought and emotion, and her very existence may contain the secret to survival.
This gore-fest incorporates the Draugr, a mythical undead creature from Scandinavian folklore renowned for its savage commitment to guarding its gold hoard. In Dead Snow, these draugr are really former SS soldiers who terrorized a Norwegian village and robbed its inhabitants before being slain or driven into the cold mountains.
I have to give Dead Snow credit for coming up with this. It's funny, gory, and satisfyingly brutal, with elements of Evil Dead and "teen sex/slasher" films. Furthermore, since Dead Snow: Red vs. Dead is a sequel, fans may anticipate more of the same.
It's possible that the story behind The Dead Next Door is more interesting than the movie itself: Sam Raimi made it possible for his friend J. R. Bookwalter to direct the low-budget zombie epic of his dreams by giving him some of the money he made from Evil Dead II. Raimi is listed as an executive producer under the name "The Master Cylinder," and Evil Dead's Bruce Campbell does double duty—not on screen, but as the voice of not one but two characters, since the whole movie seems to have been re-dubbed in post-production. It's no surprise that this gives The Dead Next Door a dreamy, unreal feel, and that's before we even say that the whole movie was shot on Super 8 instead of 32 mm film.
The Dead Next Door, then, offers something unique even in this genre: A grainy, low-budget zombie action-drama with cringe-inducing amateur acting performances and surprising professionalism thrown in for good measure.
An "elite team" of zombie exterminators stumbles onto a cult committed to the worship of the undead, but you're not there for the story; you're there for the gore. The Dead Next Door sometimes resembles a low-budget attempt to duplicate Peter Jackson's insane bloodletting in Dead Alive, only with gags so blatant that they're frightening. "Who is this Dr. Savini person anyway?" says the narrator. Is it okay if I refer to you as "Officer Raimi"? Carpenter, Commander?
All of them are in this zombie movie, which looks and feels like it was made just for the director's family. Still, there's something magical about being so close in a messy way.
The journey of zombie films into the mainstream has been remarkable. Outside of Voodoo legend, radioactive humanoids, and the memorable imagery of E.C. comics, the monsters didn't have much of a presence or description for decades. Zombies weren't employed very (original site) often, and when they were, they weren't anything like the cannibalistic, flesh-hungry undead monsters we know and love 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.
The only catch is that after burial, the dead won't stay in his cemetery. At the funeral for her husband, Dellamorte meets a beautiful widow (Falchi) and immediately falls in love with her. After wooing her in the gloom of his ossuary, the two of them end up steaming it up on her husband's tomb, fully clothed. Falchi is Dellamorte's on-screen new flame. That's only the start of how out of the ordinary things are going to become.