That's not to suggest Snyder's 2004 adaptation of George Romero's 1978 picture of the same name isn't stylish. The first 12 minutes of his career serve as an opening volley, featuring one of the finest opening title sequences in genre history. This beginning provides a good dynamic antidote to the picture to which "Dawn of the Dead" is sometimes compared: Danny Boyle's "28 Days Later," owing to the appearance of so-called "fast" zombies.
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.
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 falling across a small group of survivors, he helps them. The Hunter's talents are tested as the Flesh Eaters strike unexpectedly.
Zombie Hunter seems to be entertainingly nasty B-Movie fodder — after all, who doesn't want to witness Danny Trejo combat swarms of zombies in slow motion? Director K. King looks to be striving for a Machete/Planet Terror grindhouse retro vibe, so we're looking forward to seeing how it pans out. The marketing team has done an excellent job with the sleek 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 from an actress who generally excels in serious roles: Lupita Nyong'o. However, she seems to be having a great time as the kindergarten teacher whose students experience a zombie epidemic during a field trip. The 2019 film was the actress' second, though lesser-known, attempt in the horror genre that year (the other being Jordan Peele's "Us").
She'll be OK. According to the press notes, it's "dedicated to all the kindergarten instructors who push youngsters to study, build confidence, and save them from being eaten by zombies." That's it. Josh Gad portrays an annoying kid performer, and Alexander England plays a has-been musician in love (or lust) with Nyong'o.What you get is an interesting blend of horror and romantic comedy, which gives new life to both genres.
The zombie pandemic has persisted unabatedly since then. Few individuals have perfected the skill of running. The most known example is The Walking Dead on television, although zombies have also featured in found footage films ([REC]), romantic comedies ([REC]), and grindhouse homages (Warm Bodies) (Planet Terror).
In response to Romero's writings, a subgenre grew up around the world.
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.
Fans of Romero's work who built upon his foundation to further explore and broaden what a zombie movie might be, filmmakers like Dan O'Bannon, Fred Dekker, and Stuart Gordon came along and messed with the genre constructions. The zombie then went out of style as swiftly as it erupted.
The creature had become an important part of the horror genre, but outside of ongoing horror sequels (like Return of the Living Dead and Zombie) and the occasional genre oddity (like My Boyfriend's Back, Cemetery Man, and Dead Alive), the dead no longer walked the earth.
Is there somewhere else to begin? White Zombie was the first movie to popularize the idea of Haitian voodoo zombies. This was decades before the classic George Romero ghoul.
It's simple to obtain White Zombie nowadays, since it's a public domain mainstay in just about every cheapo collection of zombie flicks ever assembled—you can just watch its 67-minute length on YouTube if you want. Bela Lugosi portrays a witch doctor, who is literally titled "Murder" since the studio was still a few years away from finding subtlety at the time. He was just a year out from Dracula and delighting in his reputation as one of Universal's go-to horror actors.
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. The one bright point, unsurprisingly, is Lugosi, but you had to start somewhere. Following White Zombie, voodoo zombie films sprang out in Hollywood on a regular basis 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 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.
Eventually, Rose McGowan's hero Cherry Darling gets her severed limb replaced with a machine pistol in a ridiculously entertaining climax that has over-the-top gore and oozing effects. Gather 'round, folks: I want to consume your intellect in order to expand my own.
Poultrygeist: Night of the Chicken Dead offers Troma mainstays. Wasteful. Violence. It lacks limits and taste. The true question is, "Is it boring?" Definitely not.
It's called a "zom-com musical," and its social satire of consumer culture is even a little bit clever, in an obvious way. But is that really why you're watching a movie about zombie chickens that come to life in a KFC-style restaurant built on an old Native American burial ground? I didn't believe that. When you watch a Troma movie, you just have to enjoy the gore, scatological humor, and low production values for what they are.
As a direct consequence of this, Poultrygeist is only 103 minutes of filthy, gruesome, and raunchy lunacy.
Although there have been zombie films for more than 80 years (White Zombie was produced in 1932 and I Walked With a Zombie was published in 1943), it is widely agreed that the zombie subgenre as it is known today did not exist until 1968, when George A. Romero released Night of the Living Dead.
Night, an indie picture with a budget little around six figures, captivated spectators with its cryptic storyline, startling violence, progressive casting and social criticism, and, of course, its iconic hordes of gaunt, ravenous zombies. The greatest of Romero's five more Dead films, including Dawn of the Dead and Day of the Dead, are presented in this guide. Romero is considered the godfather of zombie films.
After Night of the Living Dead had time to percolate and gather clout in the public's mind, a slew of influential American zombie films emerged in the late 1970s and early 1980s. Even if Night of the Living Dead had a major impact on popular culture, this is the case. Shock Waves is sometimes cited as the first example of the subgenre of films known as "Nazi zombie flicks." This was before Dawn of the Dead significantly increased the popularity of zombies as horror villains. Before the release of Dawn of the Dead, this was available.
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.
Since then, there have been at least 16 Nazi zombie movies, which makes this one notable for merging two famous cinema villains first.
Shock Waves is to thank for how well the Dead Snow movies did.
It's not easy to develop a new take on the zombie picture, but Colm McCarthy's The Girl With All The Gifts, based on a book by Mike Carey, succeeds in doing so while also providing some satisfying genre thrills.
In this instance, the zombie outbreak is caused by a fungal infection like to that shown in The Last Of Us, which has converted the majority of the population into 'hungry' zombies. But that's really in the background of the plot, which concentrates on little Melanie, who is (right here) getting an unorthodox education from Gemma Arterton's instructor Helen in a heavily-armed institution.
Melanie, a'second-generation' hungry, still craves human flesh but can think and feel – and her very existence may hold the key to the future.
The Draugr, a famous undead creature from Scandinavian folklore famed for its violent determination to defending its hoard of gold, is included in this gore-fest, giving it a Scandinavian touch. In Dead Snow, these draugr are really ex-SS troops who harassed and stole from the people of a Norwegian village before being slain or driven into the frigid mountains.
Dead Snow deserves credit for his ingenuity here. It's funny, gory, and satisfyingly brutal, with elements of Evil Dead and "teen sex/slasher" flicks. Furthermore, Dead Snow: Red vs. Dead is a sequel, so fans can anticipate more of the same.
Sometimes a movie's backstory is more interesting than the movie itself, and that's the case with The Dead Next Door. Sam Raimi paid for it with the money he made from Evil Dead II so that his friend J. R. Bookwalter could make his dream of making a low-budget zombie epic come true. The whole movie seems to have been redubbed after it was made, and Raimi is listed as an executive producer under the name "The Master Cylinder," while Evil Dead's Bruce Campbell voices not one but two characters. This gives The Dead Next Door a dreamlike, surreal feel, and that's before we even talk about the fact that it was all shot 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.
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 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.
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 (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 dead won't remain in his cemetery, however. When he meets a lovely widow (Falchi) at her husband's burial, Dellamorte falls in love, pursues her in his gloomy ossuary, and before you know it, they're stripped naked and steaming it up on her dead husband's grave. Things will grow stranger.