The 2004 version, which is based on the 1978 version by George Romero and was directed by Zack Snyder, is not, however, boring. The first twelve minutes are a career-launching assault, with one of the best opening title sequences in the history of the genre. People often compare "Dawn of the Dead" to Danny Boyle's "28 Days Later" because both movies have a lot of fast zombies. This prologue is a great, fast-paced contrast to that picture.
The film's opening minutes are its high point, and although the rest of the picture never quite comes up to them, the scripting by future "Guardians of the Galaxy" director James Gunn keeps things interesting. Snyder avoided the catastrophe that would have followed his following take on Alan Moore's work and the DC universe as a whole by bypassing Romero's societal critique and establishing his own unique take on the zombie genre.
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 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 an unexpected movie from Lupita Nyong'o, who is best known for her dramatic roles. But it looks like she's having a lot of fun as a kindergarten teacher whose class is on a field trip when a zombie outbreak happens. The 2019 movie was the actress's second horror movie, but it wasn't as well known as Jordan Peele's "Us," which came out the same year.
But I'm certain she'll be able to manage it. "Dedicated to all the kindergarten instructors who encourage children to study, instill confidence in them, and rescue them from being devoured by zombies," according to the official press materials. And I believe that's all there is to it. In "Little Monsters," Alexander England plays an effete, has-been musician in love (or maybe lust) with Lupita Nyong'o, and Josh Gad plays an obnoxious, well-known child entertainer.
So, what you get is a strange mix of horror and romantic comedy that makes both genres more interesting.
Since then, the zombie apocalypse has showed no signs of slowing down. (Some have even mastered the art of running.) The Walking Dead is an easy giant to mention, but zombies have also appeared in found footage ([REC]), rom-coms (Warm Bodies), and grindhouse throwbacks in movies (Planet Terror).
Meanwhile, in reaction to Romero's works, a global subgenre emerged.
Legendary Italian horror filmmaker Lucio Fulci went with the concept, first in his sequel Zombi (also known as Zombi) and later in his experimental and radically 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 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, one half of the Grindhouse double feature starring Quentin Tarantino, is the superior film. In Planet Terror, a bioweapon goes wrong, turning regular Texans into shambling, pustulous monsters. The protagonist is a go-go dancer. Directing Planet Terror was Robert Rodriguez. Planet Terror sticks its proverbial exploding tongue squarely in its rotting cheek, drawing heavily from its B-movie roots with its shaky camerawork, sloppy editing, and hammy overdubbed dialogue.
In an outrageously exciting conclusion with over-the-top gore and oozing effects, Rose McGowan's hero Cherry Darling has her severed arm replaced with a machine gun. Gather 'round, people: I want to absorb your brain in order to enlarge mine.
Poultrygeist: Night of the Chicken Dead seems to include some of the classic Troma characteristics. It'll be a complete waste of time. It's going to be a bloodbath. There will be no restrictions or aesthetic considerations. The fundamental question, like with every other Troma film, is whether or not you find it uninteresting. "Definitely not" is the right answer in this circumstance.
It's marketed as a "zom-com musical," and it is somewhat amusing in its sociological satire of consumer culture. However, does it really explain why you're going to watch a movie about zombie chickens that come to life in a KFC-style restaurant built on top of an ancient Native American burial ground? That just didn't seem plausible. Be prepared for some shoddy production values and scatological humor in addition to the blood and guts in a Troma film's mindless plot.
So, Poultrygeist is just 103 minutes of bloody, gross, and rude 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.
The budget for the independent film Night was slightly over $100,000. The film's unforgettable hordes of gaunt, voracious zombies were a big part of why it was so successful, but the film's obtuse plot, shocking gore, progressive casting, and societal commentary all contributed. "Godfather of Zombies" director George A. Romero directed five further installments in the Dead franchise. This book covers the two most famous of these flicks, Dawn of the Dead and Day of the Dead.
Despite Night of the Living Dead's impact, it was not until the late 1970s and notably the 1980s that a massive wave of notable American zombie films emerged. Shortly before Dawn of the Dead boosted the popularity of zombies as horror adversaries, Shock Waves may have been the first "Nazi zombie" film.
A group of shipwrecked humans arrive on an unexplored island where a sunken SS submarine has released its crew of zombies as part of a Nazi experiment. In the same year that he scoffed at Princess Leia in Star Wars: A New Hope, did Hammer Horror great Peter Cushing appear as a miscast and befuddled-looking SS commander? It seemed improbable.
By my estimation, there have been at least 16 Nazi zombie movies since this time, which is definitely more than one may expect, making this one remarkable for combining the portmanteau of famous cinematic villains first.
The critical and commercial success of movies like the Dead Snow trilogy may be traced back to Shock Waves.The Girl With All The Gifts, directed by Colm McCarthy and based on a novel by Mike Carey, succeeds in presenting a fresh twist on the zombie film while still delivering genre thrills.
In this instance, the zombie state is caused by a fungal infection reminiscent of The Last of Us, which has transformed the majority of the people into "hungries." The tale centres on Melanie, a young girl who is getting an unorthodox education in a highly guarded institution from Helen, played by Gemma Arterton.
Melanie is a "second-generation" hungry. She wants to eat human flesh, but she can also think and feel, and her very existence may hold the key 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 inventiveness here. It has aspects of Evil Dead and "teen sex/slasher" movies, and it's hilarious, bloody, and satisfyingly brutal. In addition, Dead Snow: Red vs. Dead is the sequel, so fans can expect even more of the same.
The narrative behind The Dead Next Door is one of those occasions when the backstory is almost as intriguing as the movie: It was made possible by Sam Raimi's use of a share of the profits from Evil Dead II to enable J. R. Bookwalter to create the low-budget zombie epic of his dreams. For some reason, Raimi is listed as an executive producer under the moniker "The Master Cylinder," and Evil Dead's Bruce Campbell does double duty as a voiceover for not one but two characters, despite the fact that the whole picture has been redubbed in post-production. This, predictably, gives The Dead Next Door a hazy unreality, and that's before we even get into the fact that the picture was shot entirely on Super 8 rather than 32 mm film.
The Dead Next Door, then, is a (view blog) genre first: a grainy, low-budget zombie action drama with cringe-inducing amateur acting performances and unexpected touches of polish.
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?They're all in there, giving "The Walking Dead" an air of having been made just for the director's own private viewing pleasure. Yet, the messy proximity that was shared has its charms.
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 often, and when they were, they weren't anything like the cannibalistic, flesh-hungry undead monsters we know and love today.
Cemetery Man (also known as Dellamorte Dellamore) is a weird, psychedelic head trip directed by Dario Argento disciple Michele Soavi that presents the undead as more of an irritation than a dangerous threat. In Cemetery Man, a cinematic version of the comic book series Dylan Dog, Everett portrays Francesco Dellamorte, a misanthropic gravedigger who would rather be among the dead than with living people. Why wouldn't he, you could ask? The living are idiots for promoting the myth that he is infertile.
But there is a catch: the deceased won't remain buried in his cemetery. Dellamorte falls in love with a beautiful widow (Falchi) he meets at her husband's funeral. After courting her in the gloomy hallways of his ossuary, they end up steaming it up on her husband's grave. It gets stranger from here on out.