[ SPOIL-O-RAMA, GUYS—DON’T CRY ABOUT IT—HAVE FUN WITH IT… ]
I’d been meaning to check these films out on my own for a while and had a set in my amazon wishlist waiting and ready when I saw this title in the list of choices of films to review. I called dibs and went immediately to amazon to grab this. So, just so I’m clear on what I’m working with, the set I now have is the Blue Underground set of all four Blind Dead films (and that Ghost Galleon that popped off its holder in transit better be watchable when I get to it…) and there is a decent amount of conflicting information (hence, the 1971/2 up top). This film is generally referred to as Tombs of the Blind Dead, but the disc in this set has two versions of the film—the first one I watched, La Noche Del Terror Ciego (The Night of the Blind Terror) is the original Spanish/Portuguese production title and cut; and The Blind Dead. Nowhere in the actual video material does it say the title I’ve always heard this film given, other than the box. Also, on the box it says it came out in 1971, but most other places say 1972. Continue Reading
Day of the Dead is the third installment of the ‘Dead’ series from the late, great George A. Romero, and the final movie in what many consider the ‘original Dead trilogy’. It is, in every way, a masterpiece.
As the second sequel to Night of the Living Dead and part of a series, it is the perfect final third act. As a standalone horror movie, it is fantastic. As a zombie movie, it is divine. The special effects alone set this movie apart from most others, rivaled only by those in John Carpenter’s The Thing and Ridley Scott’s Alien (and okay, maybe also Tremors, directed by Ron Underwood). Continue Reading
Shock Waves (1977)
[85 minutes. PG. Director: Ken Wiederhorn]
(It’s 40 years old, but I’ll give a SPOILER WARNING anyway)
There are literal and figurative streams of consciousness at work in Shock Waves, Ken Wiederhorn’s most well-remembered film.
It’s not a great film – at least not as great as my childhood mind remembers – but makeup designer Alan Ormsby’s suggestion on the Blu-ray commentary track, that the film is possessed of a “dreamlike quality” is not inaccurate. And that’s arguably where it acquires its power.
It’s a film that takes place primarily on water, with the midsection set in an abandoned hotel on a desert island.
There are scenes where characters paddle toward escape – through narrow, knotted thickets; through shallow ocean waters on the way out to sea – and don’t say much. They don’t need to, really – they know their situation is inexplicable and absurd, so what’s the sense in fevered rationalizations? By the end, the lone survivor of the ordeal, Rose (Brooke Adams) has been rendered catatonic by what she’s seen, reduced to writing gibberish in a journal. Continue Reading
The first time I saw the trailer for Dead Snow, I knew I wanted to watch the movie. It looked fun, exciting, and familiar. When I finally watched the movie, I wasn’t disappointed. By the end, I was giddy. Dead Snow had all the horror elements in it that I enjoy: carnage, blood and guts, and a super cool villain. As an added bonus, it also had humor. Continue Reading
George Romero is the father of the zombie movie, but Fulci’s ZOMBI takes the monster to it’s most gruesome level. ZOMBI is glorious with scene after scene of rotting, putrid flesh being ripped off, and pumping blood geysers. And, of course, there’s the shark vs. zombie scene. This film is all about imagery.
ZOMBI is also known as ZOMBI 2, without Fulci’s consent. It was called that not because it’s a sequel, but to cash in on Romero’s DAWN OF THE DEAD, released a year earlier. The closing scenes filmed in New York, with the radio voice over, were added because of the earlier film. It was originally released with an X rating, and later labeled “a video nasty” in 1984 by the Video Recording Act. Continue Reading
Return of the Living Dead
by D. S. Ullery
Released August 16,1985.
Screenplay by Dan O’Bannon
Story by John Russo, Rudy Ricci and Russell Streine.
Directed by Dan O’Bannon
Starring Clu Gulager; Thom Matthews; James Karen; Don Calfa
There’s a moment about midway through Return of the Living Dead wherein several humans (who are trapped inside of a funeral parlor as waves of zombies run rampant outside) tie the writhing half-corpse of a long dead woman to an embalming table. Continue Reading
Though zombie is never said in Night of the Living Dead, this 1968 horror film set the standard for all following zombie films: radiation raises the ghouls (as they’re called in the film) to life (though, as of this film, radiation as a cause is only speculation), they move in a slow, plodding manner, they eat the flesh of the living, and the people they kill turn into zombies.
What makes George A. Romero’s Dead films so important, though, isn’t the thrills and chills they provide, as generous as that providing assuredly is. It’s the social and political commentary, hidden beneath the piles of corpses, that distinguishes him from his imitators. The following is my interpretation of that commentary, a theme of mindless, pitiless killing, and a killing not limited to what the zombies commit, by the way. Continue Reading