This is not to suggest that Zack Snyder's 2004 remake of George Romero's 1978 film The Walking Dead is aesthetically pleasing. This film's opening title sequence is among the best in the history of the genre, and its first twelve minutes serve as a prologue for his career. Since "Dawn of the Dead" has been compared to "28 Days Later" by Danny Boyle, mostly due to the presence of "quick" zombies, this prologue serves as a terrific dynamic counterpoint to that film.
Despite the fact that the rest of "Dawn of the Dead" fails to live up to the promise shown in the first few minutes, James Gunn (who later directed "Guardians of the Galaxy") keeps things interesting throughout his script. Avoiding Romero's social criticism allowed Snyder to carve out his own niche in the cinematic zombie realm, despite the fact that duplicating a classic is a prescription for catastrophe (something Snyder would again court when taking on the work of Alan Moore and the whole DC universe).
He hopes to return to this genre area in 2021 with Netflix's "Army of the Dead."
Natas causes a post-apocalyptic zombie wasteland. One guy hunts Flesh Eaters for fun and atonement while escaping his past.
After he had a collision with a small group of people who had survived the disaster and were becoming short on supplies, he made the decision to help them out. However, they are forced to flee as the Flesh Eaters launched an unexpected attack, putting the Hunter's abilities to the test.
Zombie Hunter seems to be the kind of gruesome B-movie entertainment that everyone would like. We are interested to watch how filmmaker K. King pays tribute to the grindhouse style of films such as Machete and Planet Terror. The marketing team did an outstanding job with the attention-grabbing poster.
Little Monsters is a surprising film by Lupita Nyong'o, who is known for her serious parts. However, she seems to be having a great time as the teacher of a kindergarten class that faces a zombie epidemic 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 sure she'll be able to handle it. According to the official press materials, "dedicated to all the kindergarten teachers who push kids to study, build their confidence, and keep them from getting eaten by zombies." And I think that's all I can think of. In "Little Monsters," Alexander England plays a ditzy, washed-up musician who is in love (or maybe lust) with Lupita Nyong'o. Josh Gad plays an annoying, famous child performer.What you get is an intriguing mix of horror and romantic comedy that breathes fresh life into both genres.
Since then, zombies have not shown any signs of stopping. (Some of them have learned to run.) The Walking Dead is an obvious example, but zombies have also appeared in found footage ([REC]), rom-coms (Warm Bodies), and grindhouse throwbacks (Return of the Living Dead) (Planet Terror).
At the same time, a new genre was established thanks to Romero's writings and swiftly went global.
Lucio Fulci, a legendary figure in Italian horror, took the idea and ran with it, first in his sequel Zombi (also called Zombi) and then in his experimental and wildly surreal "Gates of Hell" trilogy.
Fans of Romero's work who expanded upon his foundation—directors Dan O'Bannon, Fred Dekker, and Stuart Gordon, for example—came along and messed with the genre's constructions, exploring and expanding what a zombie movie might be. The popularity of zombies thereafter rapidly declined.
The undead had become a fixture of horror films, although they now mainly featured in sequels (such as Return of the Living Dead and Zombie) and low-budget B-movies such as My Boyfriend's Back, Cemetery Man, and Dead Alive.
Is there another place to begin? White Zombie popularized the Hollywood concept of Haitian voodoo undead decades before the original George Romero ghoul.
White Zombie is currently accessible for watching on YouTube, and it can also be found in practically any cheap zombie movie collection. Bela Lugosi plays a witch doctor called "Murder" since the studio was only a few years away from discovering subtlety at the time. Lugosi had just been a year away from being one of Universal's go-to horror performers after his appearance in Dracula.
Lugosi, who looks like Svengali, uses his different potions and powders to turn a young woman who is about to get married into a zombie so that she will do what a cruel plantation owner wants her to do, and... well, it's pretty dry and wooden stuff. Lugosi is 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.
The film influenced Rob Zombie's music. It's on several "greatest zombie movie" lists, although most viewers wouldn't like it in 2016. It's #50 for historical reasons.
Planet Terror is the better half of the Grindhouse double-bill that Robert Rodriguez concocted with Quentin Tarantino. Planet Terror tells the story of a go-go dancer, a bioweapon gone awry, and Texan townsfolk turned into shuffling, pustulous monsters. Planet Terror was directed by Robert Rodriguez. Planet Terror has its exploding tongue firmly entrenched in its rotten cheek, leaning strongly upon its B-movie heritage, with missing reels, rough cuts, and hammy overdubbed dialogue.
The film's conclusion, in which Rose McGowan's character, Cherry Darling, has her severed leg replaced with a machine gun, is both disgusting and hysterically funny. I need to eat some of your brains to soak up some of your knowledge.
Poultrygeist: Night of the Chicken Dead seems to have aspects characteristic of Troma films. It will be a mountain of trash. It will get really bloody. There will be no aesthetic restrictions or considerations. As with every previous Troma film, the real question is whether you find it boring. In this instance, "absolutely not" is the correct answer.
It's smart in its social critique of commercial society, in an obvious manner. Is that why you're watching a movie about zombie chickens at a KFC-style restaurant on a Native American burial ground? Nope. Troma movies are about embracing gore, scatological comedy, and low-production qualities and enjoying thoughtless narrative.
So, Poultrygeist is just 103 minutes of bloody, gross, and rude madness.
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 first post five additional Dead movies, including Dawn of the Dead and Day of the Dead.
Even though Night of the Living Dead was a big deal, it took a while for the public to remember it. Notable American zombie movies didn't start coming out until the late 1970s and early 1980s. Shock Waves may have been the first "Nazi zombie" movie. It came out just before Dawn of the Dead made zombies much more popular as scary enemies.
The movie is about a group of shipwrecked people who end up on an uncharted island where a Nazi experiment has turned the crew of a sunken SS submarine into zombies. In the same year that he made fun of Princess Leia in Star Wars: A New Hope, Hammer Horror legend Peter Cushing shows up as an SS Commander who looks out of place and confused. It doesn't seem likely.
There have been, by my amateur reckoning, at least 16 Nazi zombie movies since this point—certainly more than one may realize—which makes this one quite notable at least for combining the portmanteau of great cinematic villains first.
Shock Waves is responsible for the success of the Dead Snow films.
Colm McCarthy's The Girl With All the Gifts, based on a novel by Mike Carey, is a smart and perceptive remake that nevertheless manages to add genre thrills despite the difficulty of making an original zombie film. This movie was inspired by the book of the same name.
A fungal virus, similar to the one that wiped out mankind in The Last of Us, is to blame for this epidemic of zombieism. Melanie, a little girl, is being educated in a unique method in a highly protected facility by Gemma Arterton's character, Helen.
Melanie, a'second-generation' hungry, still craves human flesh, but she can also think and feel, and her very existence may hold the key to the future.
This splatter-fest adds features of the Draugr, a Nordic undead beast that guards its treasure trove. In Dead Snow, these draugr are former SS troops that tormented a Norwegian hamlet and robbed its things before being killed or pursued into the mountains by the people.
Definitely a point for Dead Snow's originality there. It has elements of "teen sex/slasher" flicks and the "Evil Dead," yet it's also quite funny, disgusting, and satisfyingly brutal. The movie is enjoyable all around. In addition, if you like the first installment, Dead Snow, the tale will continue in Dead Snow 2: Red vs. Dead.
There are times when the tale behind a film is more compelling than the film itself, and The Dead Next Door is no exception. Sam Raimi used the money from Evil Dead II to finance its development so that his friend J. R. Bookwalter could achieve his ambition of a low-budget zombie epic. The whole film seems to have been re-dubbed in post-production, and Raimi is identified as executive producer under the name "The Master Cylinder," while Evil Dead's Bruce Campbell voices not one but two roles. The Dead Next Door has an air of dreamy surrealism due to the fact that it was filmed completely on Super 8 and not 32 mm film.
What you have with The Dead Next Door, then, is a genre-exclusive innovation. A grainy, low-budget zombie action-drama that simultaneously features cringe-inducing amateur acting and surprising hints of polish.
An "elite team" of zombie exterminators discovers a cult committed to the worship of the undead, but you're watching this for the gore, not the story. The Dead Next Door, made for no other purpose than to try out gore effects and realistic decapitations, often like a low-budget attempt to duplicate Peter Jackson's insane bloodletting in Dead Alive, only with gags so blatant that they're frightening. "Who, after all, is this Dr. Savini guy?" Can I address you as "Officer Raimi"? Carpenter, Commander?They're all here, in a zombie movie that seems like it was never intended to be watched by anybody other than the director's family. Even yet, there's a certain fascination to that degree of lousy familiarity.
The journey of zombie movies to the big screen has been very interesting. For decades, the creatures didn't have much of a presence or definition outside of Voodoo legends, radioactive humanoids, and the unforgettable art of E.C. comics. Zombies weren't used very often, and when they were, they weren't like the flesh-eating, cannibalistic zombies 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, based on the Dylan Dog comic book, stars Everett as Francesco Dellamorte, a misanthropic gravedigger who prefers the company of the dead to that of the living. Why shouldn't he? The living are jerks, and they keep circulating tales about his impotence.
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.