It's impossible to reconcile the Zack Snyder of the #SnyderCut "Justice League," the far-too-faithful "Watchmen" adaption, and the style over substance pair of "300" and "Sucker Punch" with the filmmaker of "Dawn of the Dead."The 2004 remake, directed by Zack Snyder and based on George Romero's 1978 original, is not without its charms. The first twelve minutes are a career-launching onslaught, including one of the genre's best opening title sequences. Many people find parallels between "Dawn of the Dead" and Danny Boyle's "28 Days Later" since both films feature speedy zombies. This prologue serves as a fantastic dynamic contrast to that image.
Dawn of the Dead's opening minutes are its high point, and although the rest of the picture never quite matches them, the script by future "Guardians of the Galaxy" director James Gunn keeps things interesting. Snyder avoided the tragedy that would inevitably follow 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.
It is a genre area he hopes to revisit in 2021 with "Army of the Dead" on Netflix.
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 falling across a small group of survivors, he helps them. The Hunter's talents are tested as the Flesh Eaters strike unexpectedly.
Zombie Hunter looks like a fun, bloody B-movie. I mean, who doesn't want to watch Danny Trejo fight hordes of zombies in slow motion? Director K. King seems to be going for a "grindhouse throwback" style like Machete or Planet Terror, so we're interested to see how that will turn out. With the stylish poster, the marketing team has done a great job.
#NowWatching "Zombie Hunter Movie Review" from @DeckerShado! https://t.co/cNZGAbVhPI #moviereview #movies
— Sluts and Guts (@sluts_guts) June 15, 2022
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'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.
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).
Simultaneously, a global subgenre sprung developed in response to Romero's works.
The Italian horror maestro Lucio Fulci took the idea and ran with it, first with Zombi 2 (aka Zombi) and then with his far more strange and experimental "Gates of Hell" trilogy.
Fans of Romero's work who built on 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 movie might be. The popularity of zombies quickly faded after that.
The notion of the monster had been embedded in the horror subgenre, but the undead no longer walked the world with the exception of continuing horror sequels (such as Return of the Living Dead and Zombie) and low-budget horror films (such as My Boyfriend's Back, Cemetery Man, and Dead Alive).
To what other places might we turn next? The concept of Haitian voodoo zombies was first popularized in Hollywood with the release of White Zombie, the first full-length "zombie" horror film. This was a good many years before George A. Romero's modern-day zombie movies.
As a public domain classic in almost every cheapo collection of zombie flicks ever compiled, White Zombie is simple to get today—you can easily skip through its 67-minute length on YouTube if you wish. Only a year removed from Dracula and enjoying in his reputation as one of Universal's go-to horror actors, Bela Lugosi portrays a witch doctor who is literally dubbed "Murder" since the company was still a few years away from finding nuance at the time.
The Svengali-like Lugosi ends up zombifying a young lady who is engaged to be married, seeking to bend her to the will of a cruel plantation owner, and... well, it's fairly dry, wooden stuff. Lugosi is, inevitably, the one shining light, but you had to start somewhere. Following White Zombie, voodoo zombie films appeared seldom in Hollywood for years, the most of them are now in the public domain.
Of course, the movie also influenced Rob Zombie's musical endeavor. Some "greatest zombie movie" lists include it prominently, but let's be honest: in 2016, this isn't a film that most viewers would like. It is nearly entirely due to its historical relevance that this item ranks fifty on the list.
Planet Terror is the better half of Robert Rodriguez's Grindhouse double-bill with Quentin Tarantino. It's about a go-go dancer, a bioweapon gone wrong, and Texan villagers converted into pustulous monsters. Planet Terror embraces its B-movie origins with missing reels, rough cuts, and hammy overdubs.
Eventually, Rose McGowan's protagonist Cherry Darling receives a machine gun to replace her severed arm in a highly exciting ending with excessive gore and oozing effects. Gather around, individuals: I want to absorb your intelligence in order to increase my own.
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.
As a result, Poultrygeist is essentially 103 minutes of dirty, vile, obscene insanity.While zombie films have been around for more than 80 years (White Zombie was released in 1932, and I Walked With a Zombie was released in 1943), it is generally acknowledged that the subgenre as we know it today did not emerge 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 its influence, it took some time for Night of the Living Dead to simmer and gain significance in the public's psyche before a wave of famous American zombie films appeared in the late 1970s and early 1980s. Shock Waves may have been the first of all the "Nazi zombie" pictures, coming out soon before Dawn of the Dead, which dramatically increased the popularity of zombies as horror foes.
Film follows a group of shipwrecked individuals who find themselves on an uncharted island where a submerged SS submarine has discharged its crew of zombies, a Nazi experiment. Hammer Horror legend Peter Cushing makes an appearance as a miscast and addled-looking SS Commander the same year he sneered at Princess Leia in Star Wars: A New Hope? It hardly seems possible.
There have been at least 16 Nazi zombie movies made since this point, which is certainly more than one might be aware of, which makes this one fairly significant at least for combining the portmanteau of great film villains for the first time. There have also been many more Nazi zombie movies made since this point than one might be aware of.
Shock Waves is responsible for the success of the Dead Snow films.
Colm McCarthy's adaptation of Mike Carey's book The Girl With All The Gifts is a clever, intelligent remake with genre thrills.
Similar to the sickness that wiped out mankind in The Last of Us, a fungal infection is responsible for this epidemic of zombieism. The narrative revolves on Melanie, a young girl educated in an unconventional manner by Gemma Arterton's character, Helen, in a very guarded facility.
Melanie, a'second-generation' hungry, still desires to consume human flesh but can think and feel. Her presence might hold the key to the future.
This bloodbath incorporates elements of the Draugr, a legendary Nordic zombie famed for its fierce loyalty to guarding its treasure hoard, with the traditional zombie formula, making for a very original take on the horror genre. In Dead Snow, these draugr are really former SS troops that terrorized a Norwegian village, stole their belongings, and were either killed or driven into the snowy mountains by the townspeople. Either they (zombie film list) are killed or chased into the mountains by the people.
Dead Snow receives bonus points for uniqueness. It's also a really humorous, gruesome, and satisfyingly violent film with aspects of Evil Dead and "teen sex/slasher" films strewn around. If you like it, there's more to come in the sequel, Dead Snow: Red versus 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.
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.
You're not watching this film for the plot; you're watching it for the gore. The Dead Next Door sometimes resembles a low-budget attempt to imitate Peter Jackson's insane bloodletting in Dead Alive, but with gags so blatant that they're frightening. Who is this Dr. Savini character, anyway? May I address you as "Officer Raimi"? Commander Carpenter?They are all there in a zombie picture that seems like it was never intended for anybody other than the director's family. Nonetheless, there is an unsettling appeal to this degree of poor familiarity.
It's incredible to see how popular zombie movies have become. For a long time, monsters were largely found in Voodoo mythology, radioactive humanoids, and the classic iconography of E.C. comics. Zombies were not always the cannibalistic, flesh-hungry undead we've come to know and love.
Cemetery Man (also known as Dellamorte Dellamore) is a weird, hallucinogenic journey directed by Dario Argento's student Michele Soavi, who presents the undead as more of an inconvenience 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? Living people are jerks for propagating the lie that he is infertile.
There is just one catch: the deceased won't remain buried in his cemetery even after they are buried there. When he meets a stunning widow (Falchi) at the funeral of her husband, Dellamorte falls head over heels in love with her. He courts her in the morbid halls of his ossuary, and before you know it, they are stripped naked and steaming it up on top of her dead husband's grave. Falchi plays the role of Dellamorte's new love interest. That's only the beginning of how strange things are going to become.