After the initial frames turn an immigrant family into a bunch of slow-moving flesh-chewers taped by a local newsman, the perspective shifts directly to Creed's camera as he shoots the zombie rampage that was meant to be his senior thesis for his professor (Scott Wentworth), a world-class alcoholic. As his star (Philip Riccio) takes off for his mansion with the sound girl, Creed and his crew start hearing broadcasts over the internet and the radio about the dead coming back to life: the death of death indeed.
Continue reading: Diary Of The Dead Review
Romero does great work with no money to spend -- though the film is quite repetitious and the mindless zombies move so slowly that any half-brained human ought to easily outrun and outmaneuver them. Nonetheless, many humans find themselves outwitted... and the film (along with the very similar Invasion of the Body Snatchers films) has inspired countless imitators and odes, including Assault on Precinct 13 and pretty much any other "We're trapped!" horror flick. Followed by two sequels (the first of which many regard as the best of the series).
Continue reading: Night of the Living Dead Review
Land of the Dead is Romero's fourth zombie picture, a sequel of sorts to his last "...of the Dead" picture, Day of the Dead. It all began, of course, with the infamous '60s shocker Night of the Living Dead - now a denizen of the public domain and released by every fly-by-night DVD company around - which combined social commentary and, at the time, shocking gore. It was a combo that inspired a whole genre, the zombie-athon, and countless imitators, very few of which are as inspired as any of Romero's. (The engaging and referential Shaun of the Dead comes closest.)
Continue reading: Land of the Dead Review
Romero hasn't been able to get a feature film off the ground since 1993's The Dark Half, which is really too bad. He's one of the more distinctive filmmakers working within the horror genre, having made his start with the black-and-white classic Night of the Living Dead in 1968. That was a pioneer for modern horror as gruesome satire, followed up by the arguably superior Dawn of the Dead (where the zombie invasion was set against the backdrop of a shopping mall). Fans of Romero will be pleased to see him back to his old preoccupations. Bruiser could be viewed as an extension of the identity crisis in Martin, Romero's ambivalent portrait of a young man who may or may not be a vampire.
Continue reading: Bruiser Review