Which is not to argue that Snyder's 2004 adaptation of the 1978 picture of the same name by George Romero lacks style. The initial 12 minutes constitute an opening volley for his career, featuring one of the greatest opening title sequences in the history of the genre. This introduction provides a good kinetic counterpoint to the film that "Dawn of the Dead" is sometimes likened to: Danny Boyle's "28 Days Later," mostly owing to the presence of "fast" zombies.
The film's opening minutes are its high point, and although the rest of the picture never quite comes up to them, the scripting by future "Guardians of the Galaxy" director James Gunn keeps things interesting. Snyder avoided the catastrophe that would have followed 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.
Netflix's "Army of the Dead" will see him return to the genre in 2021.
Set in a post-apocalyptic zombie apocalypse brought forth by the strange street drug "Natas." We follow one guy as he pursues Flesh Eaters for fun, atonement, and escape from his past.
He decides to aid after colliding with a small group of survivors who are fast running out of supplies. A surprise attack by the flesh-eating Flesh Eaters forces them to run, putting the Hunter's skills to the test.
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.
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's clearly up to the challenge. According to the official press notes, the video is "dedicated to all kindergarten teachers who push children to study, build confidence in them, and save them from being eaten by zombies." Yes, that pretty much wraps it up. "Little Monsters" also stars Josh Gad as an annoying, renowned kid performer, and Alexander England as an effete, has-been musician accompanying his nephew on a field trip who is also in love (or maybe lust) with Nyong'o.As a result, you wind up with an odd combination of horror and romantic comedy that amps up the excitement of 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).
Meanwhile, in reaction to Romero's works, a global subgenre arose.
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 upon his foundation to further explore and broaden what a zombie movie might be came along and messed with the genre constructions. Filmmakers like as Dan O'Bannon, Fred Dekker, and Stuart Gordon were among others who came along and did this. After that, the zombie trend fizzled out almost as rapidly as it had gained popularity.
Outside of recurring horror sequels (Return of the Living Dead, Zombie), low-budget fright pictures, and the rare genre oddity (My Boyfriend's Back, Cemetery Man, and Dead Alive), the undead were no longer walking 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.
White Zombie is currently accessible to watch on YouTube, and it can also be found in practically any cheap zombie movie collection. Because the studio was still a few years away from establishing subtlety at the time, Bela Lugosi plays a witch doctor who is actually nicknamed "Murder." Lugosi had only been a year since his portrayal in Dracula cemented his reputation as one of Universal's go-to horror performers.
Lugosi, who looks like Svengali, uses his different potions and powders to turn a young woman who is about to get married into a zombie so that she will do what a cruel plantation owner wants her to do, and... well, it's pretty dry and wooden stuff. Lugosi is the only bright spot, as expected, but you had to start somewhere. After White Zombie, there were a few voodoo zombie movies made in Hollywood every so often for many years. Most of them are now in the public domain.
Of course, the film also influenced Rob Zombie's musical effort. It appears prominently on several "greatest zombie movie" lists, but let's be honest: this isn't a film that most audience members would enjoy viewing today 2016. It is ranked #50 almost entirely on historical importance.
Robert Rodriguez's Planet Terror is the superior half of the Grindhouse double-feature he concocted with Quentin Tarantino. The film tells the tale of a go-go dancer, a bioweapon gone bad, and Texan townspeople transformed into shuffling, pustulous creatures. Planet Terror leans heavily on its B-movie origins, with missing reels, rough editing, and hammy overdubbed dialogue, and its exploding tongue is firmly planted in its rotten cheek.
Its over-the-top gore and oozing effects are repulsive, and it builds to a wildly hilarious ending in which Rose McGowan's heroine has her leg replaced by a machine gun. I'll devour your brains for information.
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 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.
As a result, Poultrygeist is essentially 103 minutes of dirty, vile, obscene insanity.
While zombie films have been around for almost 80 years (White Zombie was produced in 1932, and I Walked With a Zombie was published in 1943), it's widely acknowledged that the subgenre as we know it today didn't emerge until 1968, when George A. Romero released Night of the Living Dead.
Night was an independent movie with a budget just above six figures. It had a mysterious plot, shocking violence, progressive casting, social commentary, and, of course, hordes of ragged, hungry zombies that people will never forget. Romero was called the "godfather of zombies," and he went on to make five more Dead movies. The best of them, like Dawn of the Dead and Day of the Dead, are in this guide.
Despite the effect of Night of the Living Dead, it took some time for the film to simmer and gain significance in the public's consciousness before a swarm of famous American zombie films appeared in the late 1970s and early 1980s. Shock Waves was maybe the first of the "Nazi zombie" flicks, appearing soon before Dawn of the Dead, which significantly 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.
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.
The critical and commercial success of movies like the Dead Snow trilogy new updates may be traced back to Shock Waves.It's not easy to create a fresh perspective on the zombie film, but Colm McCarthy's The Girl With All The Gifts, based on Mike Carey's novel, succeeds while also giving some enjoyable 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.
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 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.
The Dead Next Door is one of those rare occasions in which the film's backstory is probably more intriguing than the picture itself. Sam Raimi produced it with a fraction of the earnings from Evil Dead II so that his close buddy J. R. Bookwalter could create the low-budget zombie epic of his dreams. Raimi, for whatever reason, is listed as an executive producer under the moniker "The Master Cylinder," while Evil Dead's Bruce Campbell does double duty—not on screen, but as the voiceover for not one, but two characters, since the whole picture has been redubbed in post-production. Unsurprisingly, this gives The Dead Next Door a sense of dreamlike unreality, and that's before we even add that the whole picture was shot on Super 8 and not 32 mm film.
So, The Dead Next Door offers something that has never been seen before in this genre: a grainy, low-budget zombie action-drama with cringe-worthy amateur acting and surprising signs of polish.
The story is about a "elite team" of zombie killers who find a cult that worships zombies, but you don't watch this one for the plot, you watch it for the gore. The Dead Next Door seems to have been made just as a way to practice practical blood effects and beheadings. At times, it feels like a backyard attempt to copy the crazy bloodletting in Peter Jackson's Dead Alive, but with genre references that are so obvious you can't help but laugh. "Dr. Savini"? "Officer Raimi"? "Commander Carpenter"?They are all present in this zombie movie, which gives off the impression that it was never intended for anybody other than the director's family members to see it. Nevertheless, there is a certain allure to the amount of sloppy closeness that was shared.
The journey of zombie movies to the big screen has been very interesting. For decades, the creatures didn't have much of a presence or definition outside of Voodoo legends, radioactive humanoids, and the unforgettable art of E.C. comics. Zombies weren't used very often, and when they were, they weren't like the flesh-eating, cannibalistic zombies 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.
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.