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 remainder of "Dawn of the Dead" never quite matches the intensity of the first few minutes, but the writing by future "Guardians of the Galaxy" director James Gunn keeps things fascinating throughout. It should be emphasized that replicating a classic was a formula for catastrophe (a fate Snyder would again face when tackling Alan Moore's work and the whole DC world), but by forsaking Romero's social criticism, Snyder was able to carve out his own part of the cinematic zombie cosmos.
Netflix's "Army of the Dead" will see him return to the genre in 2021.
The narrative takes place in a dystopian future in which the unusual street drug "Natas" has transformed the populace into zombies. As the narrative develops, we follow a man as he hunts Flesh Eaters for amusement, penance, and to escape his own past.
After colliding with a small group of survivors who are quickly running out of resources, he decides to aid them. A surprise attack by the flesh-eating Flesh Eaters forces them to run and tests the talents of the Hunter.
The trailer for Zombie Hunter seems to be the kind of gruesome B-movie fun that everyone would enjoy. We're interested to see how filmmaker K. King manages to pay respect to the grindhouse aesthetic of films like Machete and Planet Terror. The marketing team did an outstanding job with the eye-catching poster.
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.
However, she is more than capable of completing the assignment. The video is "dedicated to all of the kindergarten teachers who push children to study, imbue them with confidence, and save them from being eaten by zombies," as the official press notes characterize it. Yes, I believe that adequately explains everything. In "Little Monsters," Josh Gad plays an annoying, famous child entertainer, and Alexander England plays an effete, has-been musician who is escorting his nephew on a field trip and who also happens to be in love (or maybe lust) with Lupita Nyong'o. Both of these characters are accompanied by Nyong'o. "Little Monsters" was released in 2014.The result is a unique combination of horror and romantic comedy that breathes fresh life into both genres.
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).
At the same time, a new genre was established thanks to Romero's writings and swiftly went global.
Lucio Fulci, the Italian horror maestro, grabbed the concept and ran with it in his own unique style, producing the bizarre and experimental "Gates of Hell" trilogy and the sequel Zombi 2 (also known as Zombi). Many zombie films owe their existence to Fulci.
Dan O'Bannon, Fred Dekker, and Stuart Gordon explored and expanded what a zombie movie might be after Romero. The zombie craze rapidly faded.
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).Where else could we possibly start looking? White Zombie was the first full-length "zombie" horror film, and it was also the first time the notion of Haitian voodoo zombies was popularized in Hollywood. This was decades before the current zombie films of George A. Romero.
Since it is now in the public domain, you may watch White Zombie for free or at a very minimal fee on almost any zombie film anthology. The whole 67-minute film is available for viewing on YouTube. Bela Lugosi, fresh off his success as Dracula and enjoying his status as one of Universal's top horror actors, portrays a witch doctor whose name is a direct translation of the word "murder." The reason behind this is because the studio had yet to learn the value of subtlety at this point in time, which would take a few more years.
The Svengali-like Lugosi ends up utilizing his various potions and powders to zombify 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 pretty dry, wooden stuff. Predictably, Lugosi is the best part, but I suppose you had to begin somewhere. White Zombie was followed by a number other voodoo zombie films (now updated) from Hollywood, the most of which are now available online for free.
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 their Grindhouse double film, directed by Robert Rodriguez and co-written by Quentin Tarantino. The story follows a go-go dancer, a botched bioweapon, and the transformation of the residents of a tiny Texas hamlet into shuffling, pustulous monsters. The exploding tongue of Planet Terror is firmly planted in its rotten cheek as it embraces its B-movie roots with missing reels, sloppy editing, and hammy overdubbed dialogue.
Its over-the-top gore and oozing effects are disgusting, and it builds up to a stupidly fun ending in which Rose McGowan's character, Cherry Darling, has her severed leg replaced with a machine gun. Let's all say it together: I'm going to eat your brains and learn from them.
Poultrygeist: Night of the Chicken Dead is a Troma movie, so you can expect a few things. It will be a lot of garbage. It will get rough. It will have no limits and no sense of what is right or wrong. The real question, as with all Troma movies, is, "Is it boring?" In this case, the answer is "absolutely not."
The social satire of consumer society is quite subtle for a musical marketed as a "zom-com," if that makes any sense. Why, however, are you sitting in a movie about undead chickens who invade a KFC-like restaurant located on top of a Native American burial ground? Don't think so. Accepting the violence, scatological jokes, and shoddy production standards as part of the fun is essential to a Troma viewing, as does an appreciation for the thoughtless storyline.
As a consequence, Poultrygeist is just 103 minutes of filthy, gruesome, raunchy lunacy.
While zombie movies have been around for more than 80 years (1932's White Zombie, 1943's I Walked With a Zombie), the subgenre as we know it today didn't emerge until 1968's 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.
Even though Night of the Living Dead had an impact, it was not until the late 1970s and especially the 1980s that a lot of important American zombie movies came out. Shock Waves might have been the first "Nazi zombie" movie. It came out just before Dawn of the Dead, which made zombies a lot more popular as scary bad guys.
It's a dark and plodding picture that follows a group of shipwrecked sailors who discover a submerged SS submarine has dumped its crew of zombies on a mystery island as part of a Nazi experiment. The film chronicles their efforts to leave the island. Peter Cushing, icon of Hammer Horror, appears here as a badly miscast and addled-looking SS Commander, the same role he played the same year he mocked Princess Leia in Star Wars: Episode IV. Can There Be New Hope? To me, it just cannot be true.
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.
In the end, movies like the Dead Snow series owe everything to Shock Waves.
It's not easy to come up with a fresh perspective on the zombie film, but Colm McCarthy's The Girl With All The Gifts, based on Mike Carey's novel, succeeds in doing so while also giving great 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 is a'second-generation' hungry; she desires human flesh but also has the ability to think and feel, and her sheer existence may hold the key to survival.
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 are killed or chased into the mountains by the people.
I must give Dead Snow credit for originality here. It includes elements of Evil Dead and "teen sex/slasher" films, it is funny, violent, and satisfyingly brutal. Furthermore, Dead Snow: Red vs. Dead is the sequel, so fans can anticipate more of the same.
The narrative behind The Dead Next Door is one of those examples that may be more intriguing than the picture itself: Sam Raimi produced it using a share of the earnings from Evil Dead II to enable pal J. R. Bookwalter to direct the low-budget zombie epic of his dreams. For some reason, Raimi is listed as an executive producer under the moniker "The Master Cylinder," while Evil Dead's Bruce Campbell doubles as a voiceover for not one, but two characters, since the whole picture seems to have been redubbed in post-production. This, predictably, gives The Dead Next Door an aura of dreamlike unreality, and that's before we even consider that the picture was SHOT ENTIRELY ON SUPER 8, rather than 32 mm film.
The Dead Next Door, then, is a genre first: a grainy, low-budget zombie action drama with cringe-inducing amateur acting performances and unexpected touches of polish.
The premise focuses on a "elite squad" of zombie exterminators who stumble into a zombie-worshiping cult, but you're watching it for the gore, not the plot. The Dead Next Door sometimes seems like a backyard effort to imitate the psychotic bloodletting seen in Peter Jackson's Dead Alive, only with genre allusions that are so on-the-nose you can't help but giggle. "Doctor Savini"? "Officer Raimi," you say? "Command Carpenter," you say?
They're all here, in a zombie picture that seems like it was only ever intended for the director's family to witness. Even yet, there's a strange allure to that degree of lousy familiarity.
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 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, directed by Dario Argento protégé Michele Soavi, depicts the living dead as a nuisance rather than a danger. Cemetery Man is based on the comic strip Dylan Dog and stars Everett as a misanthropic gravedigger. Why not? Living scum propagate accusations he's impotent.
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.