The 2004 version, directed by Zack Snyder and based on the 1978 original by George Romero, is not, however, without of flair. The first twelve minutes are a career-launching assault, including one of the finest opening title sequences in the genre's canon. Because of the prevalence of fast zombies in both films, many people draw comparisons between "Dawn of the Dead" and Danny Boyle's "28 Days Later." This prologue provides a great kinetic counterpoint to that picture.
Dawn of the Dead never quite matches its opening minutes, but James Gunn's writing keeps things fascinating. By avoiding Romero's societal message, Snyder was able to carve out his own part of the cinematic zombie realm.
It's a genre corner he plans to return to in 2021 with Netflix's "Army of the Dead."
The narrative takes place in a dystopian future in which a weird street drug known as "Natas" has transformed the people into zombies. We follow one man as he hunts down Flesh Eaters for joy and atonement, as well as to escape his own past, as the tale continues.
After running upon a small band of survivors who were running low on supplies, he decided to pitch in and assist. The Flesh Eaters, however, have launched an unexpected onslaught, and the Hunter's skills have been put to the test.
The trailer for Zombie Hunter suggests that it will be the type of gruesome B-movie fun that everyone will enjoy. We're interested to see how filmmaker K. King handles a tribute to grindhouse classics like Machete and Planet Terror. The marketing team did an outstanding job with the eye-catching poster.
This week's review is up and ready for all, Zombie Hunter, starring Danny Trejo in a minor role as it actually stars someone completely different!https://t.co/cf2hUgKcee
— Decker Shado (@DeckerShado) June 15, 2022
But that's not to say Trejo's role isn't important, or memorable. Man's a badass, what can I say?
Little Monsters is a surprising film by Lupita Nyong'o, who is known for her serious parts. But she seems to be having a great time as the teacher of a kindergarten class that faces a zombie outbreak on a field trip. The 2019 picture marked the actress' second, though lesser-known, foray into the horror genre that year (the other being Jordan Peele's "Us").
But I'm certain she can manage it. According to the official press materials, the film is "dedicated to all kindergarten teachers who encourage children to study, instill confidence in them, and rescue them from being devoured by zombies." And I believe that's about all. In "Little Monsters," Alexander England plays an effete, has-been musician who falls in love (or maybe lust) with Lupita Nyong'o, while Josh Gad plays an obnoxious, recognized child performer.This results in a strange hybrid of horror and romantic comedy that manages to increase the thrills of both genres.
Since then, the zombie outbreak hasn't showed any signs of abating. (It is said that a few of them have even picked up running.) Although "The Walking Dead" is the most obvious example, zombies have appeared in everything from discovered footage movies (like "REC") to romantic comedies (like "Warm Bodies") to homages to the classics (like "The Walking Dead") (Planet Terror).
At the same time, all over the world, a whole genre grew up around Romero's works.
Lucio Fulci, an Italian horror legend, took the idea and ran with it in his own way, first with Zombi 2 (also called Zombie) and then with his much stranger and more experimental "Gates of Hell" trilogy.
Fans of Romero's work who built upon his foundation, such as filmmakers Dan O'Bannon, Fred Dekker, and Stuart Gordon, toyed with the genre's constructs, exploring and broadening what a zombie film might be. The popularity of zombies thereafter decreased precipitously.
The undead had become a mainstay of horror movies, but now they only show up in sequels (like Return of the Living Dead and Zombie) and cheap B-movies (like My Boyfriend's Back, Cemetery Man, and Dead Alive).
Exists any alternative starting point? White Zombie popularized the Hollywood concept of Haitian voodoo undead decades before the original George Romero zombie.
You can now watch White Zombie on YouTube, and you can also find it in almost any cheap collection of zombie movies. Bela Lugosi plays a witch doctor who is called "Murder" by the studio, which was still a few years away from understanding nuance. After his role in Dracula, Lugosi was well-known as one of Universal's go-to horror actors. This was just a year ago.
Lugosi, who looks like Svengali, uses his different potions and powders to turn a young woman who is about to get married into a zombie so that she will do what a cruel plantation owner wants her to do, and... well, it's pretty dry and wooden stuff. Lugosi is the only bright spot, as expected, but you had to start somewhere. After White Zombie, there were a few voodoo zombie movies made in Hollywood every so often for many years. Most of them are now in the public domain.
Obviously, the film affected Rob Zombie's musical endeavors as well. Some "best zombie film" lists include it prominently, but let's be honest: in 2016, most viewers would not like this film. This object is ranked fifty on the list almost exclusively owing of its historical value.
Planet Terror, directed by Robert Rodriguez and co-written with Quentin Tarantino, is the superior half of their Grindhouse double feature. The film tells the tale of a go-go dancer, a bioweapon gone wrong, and the transformation of a small Texas town's inhabitants into shuffling, pustulous monsters. Planet Terror's exploding tongue is firmly planted in its rotten cheek as it embraces its B-movie origins with missing reels, rough editing, and hammy overdubbed dialogue.
Its over-the-top gore and oozing effects are disgusting, and it builds up to a stupidly fun ending in which Rose McGowan's character, Cherry Darling, has her severed leg replaced with a machine gun. Let's all say it together: I'm going to eat your brains and learn from them.
Poultrygeist: Night of the Chicken Dead promises a few Troma mainstays. It'll be completely tacky. It will be bloody. It will have no limits and no sense of taste. The true question, like with every Troma production, is "Is it boring?" In this case, the answer is "absolutely not."
The musical's sociological criticism of consumer culture is extremely nuanced for a "zom-com," if that makes sense. But why are you watching a movie about zombie chickens invading a KFC-style restaurant built on top of a Native American burial ground? I don't believe so. Accepting the violence, scatological humor, and lousy production standards as part of the pleasure, as well as a respect for the stupid plot, is required for a Troma watching.
So, Poultrygeist is just 103 minutes of filthy, rude, and raunchy madness.
While zombie movies have existed for more than 80 years (in 1932 we had White Zombie, in 1943 I Walked With a Zombie), it’s largely recognized the subgenre as we know it today didn’t develop until 1968, when George A. Romero released Night of the Living Dead.
Night, a low-budget indie film, captivated viewers with its cryptic narrative, stunning gore, progressive casting and social criticism, and, of course, the iconic hordes of the gaunt, ravenous undead. Romero was dubbed the "Godfather of Zombies" and went on to make five additional Dead films, the greatest of which are included in this book, including Dawn of the Dead and Day of the Dead.
Despite Night of the Living Dead's effect, it took some time for the picture to mature and earn cultural cachet before a massive wave of notable American zombie films exploded in the late 1970s and early 1980s. Shock Waves may very well be the first of all the "Nazi zombie" films, arriving just before Dawn of the Dead drastically increased the appeal of zombies as horror adversaries.
A gang of wayward boaters find themselves on a remote island where a wrecked SS submarine has discharged its undead crew, a Nazi experiment. Peter Cushing plays a miscast and addled SS Commander the same year he sneered at Princess Leia in Star Wars: A New Hope?
Since then, there have been at least 16 Nazi zombie movies, which is a lot more than you might think. This one is important at least because it was the first to combine two great movie villains into one.
Shock Waves is responsible for the success of the Dead Snow films.It takes a lot to produce a really original zombie picture, but Colm McCarthy's adaptation of Mike Carey's book The Girl With All the Gifts is a brilliant and insightful reworking that still has genre thrills to add. The film is based on the novel by the same name.
This particular outbreak of zombieism is caused by a fungal infection, similar to the one that wiped out humanity in The Last of Us. The plot centers on Melanie, a young girl being taught by Gemma Arterton's character, Helen, in a unique way in a highly secured institution.
Melanie, a member of the so-called "second generation" of the hungry, has the capacity for thought and emotion, and her very existence may be the deciding element in the unfolding of future events. In spite of therapy, she still has a need for eating human flesh.
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.
The history of a film might be more fascinating than the film itself, and this is the case with The Dead Next Door. Sam Raimi used the money from Evil Dead II to bankroll its development, allowing his friend J. R. Bookwalter to achieve his concept of a low-budget zombie epic. The whole film seems to have been redubbed in post-production, and for some reason, Raimi is credited as an executive producer under the alias "The Master Cylinder," while Evil Dead's Bruce Campbell serves as the voiceover for not one, but two characters. Because of this, The Dead Next Door exudes a dreamy surrealism, and that's before we even get to the fact that it was filmed completely on Super 8 rather than 32 mm film.
So, what you have in link here The Dead Next Door is something that no other book in this genre has: A grainy, low-budget zombie action-drama with both amateurish acting that makes you want to cringe and unexpectedly professional moments.
The tale follows a "elite squad" of zombie exterminators who stumble onto a zombie-worshiping cult, but you're watching for the gore. The Dead Next Door seems like a backyard effort to imitate Peter Jackson's Dead Alive, but with on-the-nose genre allusions. Savini? Raimi? Carpenter?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 rise of zombie films to public popularity has been an intriguing journey. For many years, the monsters were mostly known via voodoo legend, radioactive humanoids, and the iconic artwork of E.C. comics. They did not have much of a presence or description elsewhere. Zombies did not appear very often, and when they did, they did not resemble the cannibalistic, flesh-hungry, undead monsters that we are familiar with and have come to adore today.
Cemetery Man, also known as Dellamorte Dellamore, is a film that was directed by Dario Argento's apprentice Michele Soavi. This film is a bizarre and chaotic head trip of a movie that portrays the living dead as more of an annoyance than a lethal menace. Cemetery Man is a film starring Everett as Francesco Dellamorte, a misanthropic gravedigger who favors the company of the dead to that of live people. The story is based on the comic book series Dylan Dog. Why on earth wouldn't he do that? The living are jerks, and they persist in circulating tales that he is unable to procreate.
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.