A lot of people have a hard time reconciling "Dawn of the Dead" director Zack Snyder with the Zack Snyder of the "Justice League" #SnyderCut, the far-too-faithful "Watchmen adaptation," and the style-over-substance combination of "300" and "Sucker Punch."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.
The opening minutes of "Dawn of the Dead" are the film's high point, and although the rest of the picture never matches up to them, future "Guardians of the Galaxy" director James Gunn's script keeps things fascinating. By eschewing Romero's societal critique and developing his own unique take on the zombie genre, Snyder was able to escape the tragedy that was certain to follow his following interpretation of Alan Moore's works and the DC universe.
It is a genre area he hopes to revisit in 2021 with "Army of the Dead" on Netflix.
Natas causes a post-apocalyptic zombie wasteland. One guy hunts Flesh Eaters for fun and atonement while escaping his past.
After running into a small group of survivors who are quickly running out of food, he decides to help them. When the flesh-eating Flesh Eaters attack suddenly, they have to run away, which puts the Hunter's skills 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.
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. 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 she is up to the challenge. According to the official press materials, the video is "dedicated to all the kindergarten instructors who inspire children to study, instill confidence in them, and prevent them from being eaten by zombies." Indeed, that pretty well wraps it up. Also starring in "Little Monsters" are Josh Gad, who portrays an annoying, renowned kid performer, and Alexander England, who plays an effete, washed-up musician who accompanies his nephew on a field trip and is in love (or maybe lust) with Lupita Nyong'o.The result is an intriguing combination of horror and romantic comedy that breathes fresh life into both genres.
Since then, there hasn't been a stop to the zombie outbreak. (Some of them have even learned how to run.) The most famous example is The Walking Dead on TV, but zombies have also been in found footage movies ([REC]), romantic comedies ([REC]), and homages to grindhouse movies (Warm Bodies) (Planet Terror).
Around Romero's works, a global genre 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.
Dan O'Bannon, Fred Dekker, and Stuart Gordon came along and flirted with the genre constructions; they were lovers of Romero's work who built upon his base to further explore and broaden the possibilities of a zombie film. Then, as soon as it gained popularity, zombies fell out of style.
The undead no longer roamed the earth, with the exception of recurring horror sequels (Return of the Living Dead, Zombie) and low-budget scare films (My Boyfriend's Back, Cemetery Man, and Dead Alive).Where else could we begin? White Zombie was the first full-length "zombie" horror movie. It was also the first time the idea of Haitian voodoo zombies became popular in Hollywood, decades before the modern "ghoul" made by George Romero.
White Zombie is now available on YouTube for your viewing pleasure, and it can also be found in almost any budget collection of zombie movies. Bela Lugosi portrays a witch doctor who is literally dubbed "Murder" since the studio was still a few years away from finding nuance at this time. Lugosi was just a year removed from his fame as one of Universal's go-to horror actors after his role in Dracula.
Svengali-like Lugosi uses his potions and powders to zombify an engaged lady, aiming to submit her to the will of a sadistic plantation owner. It's dry, wooden stuff. Lugosi is the bright point, but you had to start. After White Zombie, Hollywood produced voodoo zombie movies for years, most of which are now in the public domain.
Rob Zombie's musical output at the time also drew inspiration from the film. Some of the "best zombie movies" lists may include it prominently, but in 2016, the overwhelming majority of moviegoers aren't likely to find much enjoyment in a film like this. This item's high ranking is almost entirely attributable to the significance it has in history.
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 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 will be a Troma production, so you may expect a couple of their trademark elements. It will be of the lowest possible quality. There will be physical conflict. It will have no limits and no appreciation for aesthetics or good taste. The true question is one that you ask yourself with each and every Troma picture, and that is, "Is it boring?" The correct response is "absolutely not" in this scenario.
It's billed as a "zom-com musical," and it's a little bit witty in its social satire of consumer culture—in an obvious manner. But is it really the reason you're seeing a movie about zombie chickens that come to life in a KFC-style restaurant constructed on an old Native American burial ground? I didn't believe so. Watching a Troma film entails accepting the gore, scatological comedy, and cheap production qualities, as well as just enjoying some thoughtless narrative.
Poultrygeist, as a consequence, is merely 103 minutes of filthy, nasty, raunchy lunacy.Despite the fact that zombie films have existed for more than 80 years (White Zombie was produced in 1932, and I Walked With a Zombie was published in 1943), 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 picture with a cryptic narrative, stunning gore, progressive casting and social criticism, and, of course, the memorable hordes of the gaunt, ravenous undead, fascinated spectators. Romero was dubbed the "Godfather of Zombies" and went on to make five additional Dead films, including Dawn of the Dead and Day of the Dead, which are among the greatest in our book.
In spite of Night of the Living Dead's impact, it took some time for the picture to percolate and develop clout in the public's mind before a slew of notable American zombie films emerged in the late 1970s and early 1980s. Shock Waves may have been the first of all the "Nazi zombie" films, arriving just before Dawn of the Dead massively enhanced the appeal of zombies as horror adversaries.
The film follows a party of wayward boaters who get up on a mystery island where a submerged SS submarine has released its undead crew as a Nazi experiment. In the same year that he sneered at Princess Leia in Star Wars: A New Hope, Hammer Horror star Peter Cushing plays a poorly miscast and befuddled-looking SS commander. A New Hope? Impossible!
Since then, there have been at least 16 Nazi zombie movies (definitely more than one may imagine), making this one noteworthy for being the first to combine the portmanteau of renowned cinematic antagonists.
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.
This zombie outbreak is caused by a fungal infection, just like the one that killed everyone in the movie The Last of Us. The story is about Melanie, a young girl who is being taught in a unique way by Gemma Arterton's character, Helen, in a very safe place.
Melanie, a so-called "second-generation" hungry, can think and feel, and the simple fact that she exists may be the most important factor in determining the course of future events. She still craves eating human flesh.
This splatterfest adds features of the Draugr, an undead beast from Scandinavian legend that zealously defends its treasure trove, to the standard zombie. In the case of Dead Snow, these draugr are former SS troopers who tormented and robbed a Norwegian town until being done in or driven into the frigid mountains by the inhabitants themselves.
This definitely earns marks for Dead Snow in the category of creativity. It is also an extremely amusing, nasty, and satisfyingly violent movie with aspects of Evil Dead and "teen sex/slasher" films interspersed throughout. Overall, the movie is quite entertaining. And if you like it, the original story continues in the sequel titled Dead Snow: Red vs. Dead.
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, offers something unprecedented in this genre: A grainy, low-budget zombie action-drama with cringe-inducing amateur acting performances and surprising hints of polish.
The premise concerns a "elite squad" of zombie exterminators who stumble onto a zombie-worshipping cult, but you're not watching this for the plot; you're watching for the gore. The Dead Next Door sometimes seems like a backyard effort to mimic the deranged bloodletting seen in Peter Jackson's Dead Alive, but with parallels to the horror genre that are so obvious that they are laughable. "Dr. Savini"? "Officer Raimi"? "Commander Carpenter"?They're all in a zombie movie that looks and feels like it was produced only for the director's family. Even still, there's a certain allure to that type of messy intimacy.
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 link 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), directed by Dario Argento's student Michele Soavi, is a bizarre, psychedelic head trip in which the undead are portrayed as more of a nuisance than a serious threat. In Cemetery Man, an adaptation of the comic book series Dylan Dog, Everett portrays the misanthropic gravedigger Francesco Dellamorte, who would rather be among the dead than with living people. The issue is why he would not. For promoting the incorrect perception that he is sterile, the living are jerks.
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.