Strength in Numbers
Among cinematic monsters with any staying power, is there any quite as pathetic as the zombie?
Among cinematic monsters with any staying power, is there any quite as pathetic as the zombie?
Film Experience Blog is hosting a Vampire Blog-a-Thon just in time for Halloween. I was delighted to see that three bloggers saw fit to write about George A. Romero’s criminally overlooked Martin.
Is it any wonder the dead are fed up and primed for revolt? Is it any surprise that writer/director George A. Romero is cheering them on in Land of the Dead? And is it so hard to see these zombies as a blunt allegory for racial minorities, the impoverished, the politically disenfranchised? On the final question, apparently so.
The 2004 version of Dawn of the Dead is as derivative as you’d expect and still manages to be, surprisingly, pretty damned good.
Why are George A. Romero’s zombie sequels so effective? The performances are over-the-top and one-note, the music is dated and bad, they’re directed to showcase special effects rather than advance the story, and – really – they’re not terribly exciting or scary. Yet 1978’s Dawn of the Dead and 1985’s Day of the Dead remain great horror movies, two distinctive and very different films that showcase Romero’s peculiar gifts for social commentary and understanding human behavior.