Night of the Living Dead: Darkest Dawn
|Night of the Living Dead: Darkest Dawn|
|Directed by||Krisztian Majdik, Zebediah De Soto|
|Produced by||Simon West
|Written by||Zebediah De Soto, David R. Schwartz|
Sydney Tamiia Poitier
|Music by||Jermaine Stegall|
|Edited by||Krisztian Majdik|
(Walker Stalker Fan Fest)
Night of the Living Dead: Darkest Dawn, also known as Night of the Living Dead: Origins, is a 2015 computer-animated horror film directed by Krisztian Majdik and Zebediah De Soto and produced by Simon West. The film is a re-telling of the original Night of the Living Dead in a contemporary setting.
|This section may need to be rewritten entirely to comply with Wikipedia’s quality standards. (September 2015)|
An animated re-telling of the original Night of the Living Dead film. Set in modern-day New York City rather than 1960s rural Pennsylvania. Centres on a group of desperate survivors fighting to stay alive barricaded in an abandoned apartment building. Confined, cut off from the world, and under constant attack from the undead hordes closing in around them, the six main characters struggle to survive while also confronting their own sense of compassion and humanity.
- Tony Todd as Ben
- Danielle Harris as Barbara
- Bill Moseley as Johnny 
- R. Madhavan as Tom
- Joseph Pilato as Harry Cooper
- Sydney Tamiia Poitier as Tami
- Alona Tal as Helen Cooper
- Tom Sizemore as Chief McClellan
- Sarah Habel as Judy
- Jesse Corti as News Reporter
- Anastasia Roark as Susan Donaldson
- Cornell Womack as Hunter Deets
- Erin Braswell as Judy
- Mike Diskint as Tom
- Tech N9ne as Zombie
The film had been in production on and off for five years since 2009. The film features visual effects from The Graphic Film Company, Los Angeles, which relied on the iPi Soft iPi Motion Capture markerless motion capture software. The software’s ability allows the filmmakers to produce very large amounts of moving zombies on screen and also allows the actors to motion capture their performances as if they were acting on a real film set. The budget was rumored to be below 1 million USD.
Mos Def was originally cast as a voice actor, but after a short time, he was released from the project. Both Todd and Moseley would be reprising their roles as Ben and Johnny, respectively, from the 1990 version of the film. Indian actor R. Madhavan was signed on to play a role in mid 2013.
Release and reception
The film was reported to be complete in May 2014 and had a screening at the 2014 Cannes Film Festival. A theatrical release across the United States of America was planned in the fall of 2014. However this did not happen. The film later premièred at 2015 Comic Con held in San Diego as a part of the Walker Stalker Fan Fest, during July 2015. The film was later released in October 2015 on iTunes and OnDemand stations across the United States.
To date there have been no reviews collected by Rotten Tomatoes aside from a single “Audience Review”. On IMDb it has had generally mixed reviews, most critics praised the narrative and setting change but complained that the CGI looked rushed and was below standard. Genre author A. M. Esmonde stated, “the visual graphic aesthetics aren’t too hot, quite frankly a little disappointing.” but went on to praise the voice work quality and depictions of the actors Tony Todd, Danielle Harris, Bill Moseley and Joseph Pilato, adding “what it lacks with the video game like presentation it makes up for with its great voice characterisations. There’s the talent and eerie animated likeness of horror favourites.”
Night of the Living Dead
|Night of the Living Dead|
Theatrical release poster
|Directed by||George A. Romero|
|Cinematography||George A. Romero|
|Edited by||George A. Romero|
|Box office||$30 million|
Night of the Living Dead is a 1968 American independent horror film, directed by George A. Romero, starring Duane Jones and Judith O’Dea. It was completed on a $114,000 budget and premiered October 1, 1968. The film became a financial success, grossing $12 million domestically and $18 million internationally. It has been a cult classic ever since. Night of the Living Dead was heavily criticized at its release for its explicit gore. It eventually garnered critical acclaim and has been selected by the Library of Congress for preservation in the National Film Registry, as a film deemed “culturally, historically, or aesthetically significant”.
The story follows characters Ben (Jones), Barbra (O’Dea), and five others trapped in a rural farmhouse in Western Pennsylvania, which is attacked by a large and growing group of unnamed “living dead” monsters drawing on earlier depictions in popular culture of the ghoul, which has led this type of creature to be referred to most popularly as a zombie. This is the most easily recognized version of the living dead, to the point where people gather in mass quantities for conventions dressed as zombies, complete with makeup and prosthetic limbs. Night of the Living Dead led to five subsequent films between 1978 and 2010, also directed by Romero, and inspired two remakes; the most well-known remake was released in 1990, directed by Tom Savini.
- 1 Plot summary
- 2 Cast
- 3 Production
- 4 Controversy
- 5 Reception
- 6 Revisions
- 7 Film series
- 8 List of Anniversary Editions
- 9 Film connections
- 10 Copyright status
- 11 See also
- 12 References
- 13 Further reading
- 14 External links
Barbra (Judith O’Dea) and Johnny Blair (Russell Streiner) drive to rural Pennsylvania for an annual visit to their father’s grave. Barbra is attacked by a strange man (Bill Hinzman). Johnny tries to rescue his sister, but the man throws him against a gravestone; Johnny strikes his head on the stone and is left unconscious. After a mishap with the car, Barbara escapes on foot, with the stranger in pursuit, and later arrives at a farmhouse, where she discovers a woman’s mangled corpse. Fleeing from the house, she is confronted by strange menacing figures like the man in the graveyard. Ben (Duane Jones) takes her into the house, driving the “monsters” away and sealing the doors and windows. Throughout the night, Barbra slowly descends into a stupor of shock and insanity.
Ben and Barbra are unaware that the farmhouse has a cellar, housing an angry married couple Harry (Karl Hardman) and Helen Cooper (Marilyn Eastman), along with their daughter Karen (Kyra Schon). They sought refuge after a group of the same monsters overturned their car. Tom (Keith Wayne) and Judy (Judith Ridley), a teenage couple, arrived after hearing an emergency broadcast about a series of brutal murders. Karen has fallen seriously ill after being bitten by one of the monsters. They ventured upstairs when Ben turns on a radio, while Barbra awakens from her stupor. Harry demands that everyone hide in the cellar, but Ben deems it a “deathtrap” and continues upstairs, to barricade the house with Tom’s help.
Radio reports explain that a wave of mass murder is sweeping across the eastern United States. Ben finds a television, and they watch an emergency broadcaster (Charles Craig) report that the recently deceased have become reanimated and are consuming the flesh of the living. Experts, scientists, and the United States military fail to discover the cause, though one scientist suspects radioactive contamination from a space probe. It returned from Venus, and was deliberately exploded in the Earth’s atmosphere when the radiation was detected.
Ben plans to obtain medical care for Karen when the reports listed local rescue centers offering refuge and safety. Ben and Tom refuel Ben’s truck while Harry hurls molotov cocktails from an upper window at the ghouls. Judy follows him, fearing Tom’s safety. Tom accidentally spills gasoline on the truck setting it ablaze. Tom and Judy try to drive the truck away from the pump, but Judy is unable to free herself from its door, and the truck explodes, instantly killing Tom and Judy; the zombies promptly eat the charred remains.
Ben returns to the house, but is locked out by Harry. Eventually forcing his way back in, Ben beats Harry, angered by his cowardice, while the zombies feed on the remains of Tom and Judy. A news report reveals that, only a gunshot or heavy blow to the head can stop them, aside from setting the “reactivated bodies” on fire. It also reported that posses of armed men are patrolling the countryside to restore order.
The lights go out moments later, and the zombies break through the barricades. Harry grabs Ben’s rifle and threatens to shoot him. In the chaos the two fight and Ben manages to wrestle the gun away and shoots Harry. Harry stumbles into the cellar and collapses next to Karen, mortally wounded. She has also died from her illness. The ghouls try to pull Helen and Barbra through the windows, but Helen frees herself. She returns to the refuge of the cellar to see Karen is reanimated and eating Harry’s corpse. Helen is frozen in shock, and Karen stabs her to death with a masonry trowel. Barbra, seeing Johnny among the zombies, is carried away by the horde and devoured. As the zombies overrun the house, Ben seals himself inside the cellar, where Harry and Helen are reanimating, and he is forced to shoot them.
Ben is awakened by the posse’s gunfire outside the next morning. He ventures upstairs. A member of the posse mistakes him for one of the ghouls and shoots him through the forehead. The film ends with a photo montage of Ben as his body is thrown into the posse’s bonfire, laid next to the original zombie from the cemetery.
- Duane Jones as Ben: The lead role of Ben was played by Duane Jones. He was an unknown stage actor. His performance depicted Ben as a “comparatively calm and resourceful Negro” (a distinguished gentleman and former university professor, in real life), according to a movie reviewer in 1969. Casting Jones as the hero was potentially controversial, in 1968. It was not typical for a black man to be the hero of a U.S. film when the rest of the cast was composed of white actors at the time, but Romero said that Jones “simply gave the best audition”. He was in a few other films after Night of the Living Dead. He continued as a theater actor and director until his death in 1988. Despite his other film roles, Jones worried that people only recognized him as Ben.
- Judith O’Dea as Barbra: Judith O’Dea, a 23-year-old commercial and stage actress, once worked for Hardman and Eastman in Pittsburgh. O’Dea was in Hollywood seeking to enter the movie business at the time of audition. Starring in the film was a positive experience for her, she remarked in an interview. She admitted that horror movies terrified her, particularly Vincent Price‘s House of Wax (1953). Besides acting, O’Dea performed her own stunts, which she jokingly claimed amounted to “lots of running”. “I honestly had no idea it would have such a lasting impact on our culture”, assessing Night of the Living Dead. She was just as surprised by the renown the film brought her: “People treat you differently. [I’m] ho-hum Judy O’Dea until they realize [I’m] Barbra from Night of the Living Dead. All of a sudden [I’m] not so ho-hum anymore!”
- Karl Hardman as Harry Cooper
- Marilyn Eastman as Helen Cooper: Eastman also played a female ghoul eating an insect.
- Keith Wayne as Tom
- Judith Ridley as Judy: Judith Ridley later co-starred in Romero’s There’s Always Vanilla (1971).
- Kyra Schon as Karen Cooper: Hardman’s 11-year-old daughter played Karen. Schon also played the woman’s mangled corpse that Ben dragged away.
- Charles Craig as Newscaster /zombie
- Bill Hinzman as Cemetery Living Dead: The cemetery living dead who kills Johnny in the first scene. Hinzman also appeared in new scenes that were filmed for the 30th-anniversary edition of the film.
- George Kosana as Sheriff McClelland: Kosana was credited as the film’s production manager.
- Russell Streiner as Johnny Blair (Russell Streiner is also an Executive Producer in the 1990 remake of the film. He makes a cameo appearance as Sheriff McClelland.)
- Bill Cardille, a.k.a., “Chilly Billy Cardilly.” Cardille was well-known locally as a Pittsburgh TV man who had his own horror movie show, “Chiller Theatre,” on TV late Saturday nights in the 1960s and ’70s. Bill portrays a WIIC-TV, Channel 11 (a real Pittsburgh TV station) news reporter. (Bill Cardille also makes a cameo appearance as the TV news reporter in the 1990 remake of the film)
Romero’s friends and acquaintances were recruited as zombie extras. Romero stated, “We had a film company doing commercials and industrial films so there were a lot of people from the advertising game who all wanted to come out and be zombies, and a lot of them did.” He adds, “Some people from around Evans City who just thought it was a goof came out to get caked in makeup and lumber around.” Romero himself had a cameo as a Washington reporter who asks questions about the zombie epidemic. The main characters watched the TV for news reports.
Development and pre-production
Romero embarked upon his career in the film industry while attending Carnegie Mellon University in Pittsburgh. He directed and produced television commercials and industrial films for The Latent Image, in the 1960s, a company he co-founded with friends John Russo, and Russell Streiner. The trio grew bored making commercials and wanted to film a horror movie during this period. They wanted to capitalize on the film industry’s “thirst for the bizarre”, according to Romero. He and Streiner contacted Karl Hardman and Marilyn Eastman, president and vice president respectively of a Pittsburgh-based industrial film firm called Hardman Associates, Inc. They pitched their idea for a then-untitled horror film. A production company, conceived by Romero, called Image Ten, was formed which included Romero, Russo, Streiner, Hardman and Eastman. The initial budget was $6,000 with the ten members of the production company, investing $600 each for a share of the profits. Another ten investors were found when it was found that another $6,000 was required but this was also soon found to be inadequate. Image Ten eventually raised approximately $114,000 for the budget.
Co-written as a horror comedy by John Russo and George A. Romero under the title Monster Flick, an early screenplay draft concerned the exploits of adolescent aliens who visit Earth and befriend human teenagers. A second version of the script featured a young man who runs away from home and discovers rotting human corpses that aliens use for food scattered across a meadow. Russo came up with the concept that they would be the recently dead only, because they could not afford to bring long-dead people out of their graves, or at least “we” thought. He also came up with the idea that they would be “flesh-eaters.” Romero decided he liked those two ideas and without them, it would have been labeled a true ‘rip-off’ of “Richard Matheson’s I Am Legend” novel (1954). The final draft, written mainly by Russo during three days in 1967, focused on reanimated human corpses – Romero refers to them as ghouls – that consume the flesh of the living. In a 1997 interview with the BBC‘s Forbidden Weekend, Romero explained that the script developed into a three-part short story. Part one became Night of the Living Dead. Sequels Dawn of the Dead (1978) and Day of the Dead (1985) were adapted from the two remaining parts.
Romero drew inspiration from Richard Matheson‘s I Am Legend (1954), a horror/science fiction novel about a plague that ravages a futuristic Los Angeles. The infected in I Am Legend become vampire-like creatures and prey on the uninfected. Discussing the creation of Night of the Living Dead, Romero remarked, “I had written a short story, which I basically had ripped off from a Richard Matheson novel called I Am Legend.” Romero further explained:
I thought I Am Legend was about revolution. I said if you’re going to do something about revolution, you should start at the beginning. I mean, Richard starts his book with one man left; everybody in the world has become a vampire. I said we got to start at the beginning and tweak it up a little bit. I couldn’t use vampires because he did, so I wanted something that would be an earth-shaking change. Something that was forever, something that was really at the heart of it. I said, so what if the dead stop staying dead? … And the stories are about how people respond or fail to respond to this. That’s really all [the zombies] ever represented to me. In Richard’s book, in the original I Am Legend, that’s what I thought that book was about. There’s this global change and there’s one guy holding out saying, wait a minute, I’m still a human. He’s wrong. Go ahead. Join them. You’ll live forever! In a certain sense he’s wrong but on the other hand, you’ve got to respect him for taking that position.
Official film adaptations of Matheson’s novel appeared in 1964 as The Last Man on Earth, in 1971 as The Omega Man, and the 2007 release I Am Legend. Matheson was not impressed by Romero’s interpretation, feeling that “It was … kind of cornball”, though he later said, “George Romero’s a nice guy, though. I don’t harbor any animosity toward him.” Critic Danél Griffin remarked, “Romero freely admits that his film was a direct rip-off of Matheson’s novel; I would be a little less harsh in my description and say that Romero merely expanded the author’s ideas with deviations so completely original that [Night of the Living Dead] is expelled from being labeled a true ‘rip-off'”.
Russo and Romero revised the screenplay while filming. Karl Hardman attributed the edits to lead actor Duane Jones:
The script had been written with the character Ben as a rather simple truck driver. His dialogue was that of a lower class / uneducated person. Duane Jones was a very well educated man [and he] simply refused to do the role as it was written. As I recall, I believe that Duane himself upgraded his own dialogue to reflect how he felt the character should present himself.
Eastman modified cellar scenes featuring dialogue between Helen and Harry Cooper. According to lead actress Judith O’Dea, much of the dialogue was improvised. She told an interviewer, “I don’t know if there was an actual working script! We would go over what basically had to be done, then just did it the way we each felt it should be done”. One example offered by O’Dea concerns a scene where Barbra tells Ben about Johnny’s death:
The sequence where Ben is breaking up the table to block the entrance and I’m on the couch and start telling him the story of what happened [to Johnny] it’s all ad-libbed. This is what we want to get across […] tell the story about me and Johnny in the car and me being attacked. That was it […] all improv. We filmed it once. There was a concern we didn’t get the sound right, but fortunately they were able to use it.
The small budget dictated much of the production process. According to Hardman, “We knew that we could not raise enough money to shoot a film on a par with the classic horror films with which we had all grown up. The best that we could do was to place our cast in a remote spot and then bring the horror to be visited on them in that spot”. Scenes were filmed near Evans City, Pennsylvania, 30 miles (48 km) north of Pittsburgh in rural Butler County; the opening sequence was shot at the Evans City Cemetery on Franklin Road, south of the borough. The interior upstairs scenes were filmed in a downtown Evans City home that later became the offices of a prominent local physician and family doctor (Allsop). This home is still standing on South Washington St. (locally called Mars-Evans City Road), between the intersecting streets of South Jackson and Van Buren. The cemetery chapel was under warrant for demolition; however, Gary R. Steiner led a successful effort to raise $50,000 to restore the building, and the chapel is currently undergoing renovations.
The outdoor, indoor (downstairs) and basement scenes were filmed at a location northeast of Evans City, near a park. The basement door (external view) shown in the film was cut into a wall by the production team and led nowhere. As this house was scheduled for demolition, damage during filming was permitted. The site is now a turf farm.
Props and special effects were fairly simple and limited by the budget. The blood, for example, was Bosco Chocolate Syrup drizzled over cast members’ bodies. Consumed flesh consisted of roasted ham and entrails donated by one of the actors, who also owned a chain of butcher shops. Costumes consisted of second-hand clothing from cast members and Goodwill. Zombie makeup varied during the film. Initially makeup was limited to white skin with blackened eyes; but as filming progressed mortician’s wax was used to simulate wounds and decaying flesh. As filming was not linear, the piebald faces appear sporadically. Eastman supervised the special effects, wardrobe and makeup. Filming took place between June and December 1967 under the working title Night of Anubis and later Night of the Flesh Eaters. The small budget led Romero to shoot on 35 mm black-and-white film. The completed film ultimately benefited from the decision, as film historian Joseph Maddrey describes the black-and-white filming as “guerrilla-style“, resembling “the unflinching authority of a wartime newsreel“. Maddrey adds, it “seem[s] as much like a documentary on the loss of social stability as an exploitation film“.
Night of the Living Dead was the first feature-length film directed by George A. Romero. His initial work involved filming shorts for Pittsburgh public broadcaster WQED‘s children’s series Mister Rogers’ Neighborhood. Romero’s decision to direct Night of the Living Dead essentially launched his career as a horror director. He took the helm of the sequels as well as Season of the Witch (1972), The Crazies (1973), Martin (1978), Creepshow (1982) and The Dark Half (1993). Critics saw the influence of the horror and science-fiction films of the 1950s in Romero’s directorial style. Stephen Paul Miller, for instance, witnessed “a revival of fifties schlock shock… and the army general’s television discussion of military operations in the film echoes the often inevitable calling-in of the army in fifties horror films”. Miller admits that “Night of the Living Dead takes greater relish in mocking these military operations through the general’s pompous demeanor” and the government’s inability to source the zombie epidemic or protect the citizenry. Romero describes the mood he wished to establish: “The film opens with a situation that has already disintegrated to a point of little hope, and it moves progressively toward absolute despair and ultimate tragedy”. According to film historian Carl Royer, Romero “employs chiaroscuro (film noir style) lighting to emphasize humanity’s nightmare alienation from itself”.
While some critics dismissed Romero’s film because of the graphic scenes, writer R. H. W. Dillard claimed that the “open-eyed detailing” of taboo heightened the film’s success. He asks, “What girl has not, at one time or another, wished to kill her mother? And Karen, in the film, offers a particularly vivid opportunity to commit the forbidden deed vicariously”. Romero featured social taboos as key themes, particularly cannibalism. Although zombie cannibals were inspired by Matheson’s I Am Legend, film historian Robin Wood sees the flesh-eating scenes of Night of the Living Dead as a late-1960s critique of American capitalism. Wood asserts that the zombies represent capitalists, and “cannibalism represents the ultimate in possessiveness, hence the logical end of human relations under capitalism”. He argues that the zombies’ victims symbolized the repression of “the Other” in bourgeois American society, namely civil rights activists, feminists, homosexuals, and counterculturalists in general.
Members of Image Ten were involved in filming and post-production, participating in loading camera magazines, gaffing, constructing props, recording sounds and editing. Production stills were shot and printed by Karl Hardman, who stated in an interview that a “number of cast members formed a production line in the darkroom for developing, washing and drying of the prints as I made the exposures. As I recall, I shot over 1,250 pictures during the production”. Upon completion of post-production, Image Ten found it difficult to secure a distributor willing to show the film with the gruesome scenes intact. Columbia and American International Pictures declined after requests to soften it and re-shoot the final scene were rejected by producers. Romero admitted that “none of us wanted to do that. We couldn’t imagine a happy ending. . . . Everyone want[ed] a Hollywood ending, but we stuck to our guns”. The Manhattan-based Walter Reade Organization agreed to show the film uncensored, but changed the title from Night of the Flesh Eaters to Night of the Living Dead because a film had already been produced under a similar title to the former. While changing the title, the copyright notice was accidentally deleted from the early releases of the film.
Karl Hardman told an interviewer that the music came from the extensive film music library of WRS Studio. Much of what was used in the film was purchased from Capitol Production Music, the production music library of Capitol Records, and an album of the soundtrack was released at one point. Stock music selections included works by WRS sound tech Richard Lococo, Philip Green, Geordie Hormel, Ib Glindemann, William Loose, John Seely, Jack Meakin and Spencer Moore.
The opening title music with the car on the road had been used in a 1961 episode of the TV series Ben Casey entitled “I Remember a Lemon Tree” (that piece of music accompanying each time that George C. Scott’s character, a doctor who is secretly a drug addict, is injecting himself with morphine), and is also featured in an episode of Naked City entitled “Bullets Cost Too Much”. Most of the music in the film had previously been used on the soundtrack for the science-fiction B-movie Teenagers from Outer Space (1959). The eerie musical piece during the tense scene in the film where Ben finds the rifle in the closet inside the farmhouse as the radio reports of mayhem play in the background can be heard in longer and more complete form during the opening credits and the beginning of The Devil’s Messenger (1961) starring Lon Chaney, Jr. Another piece, accompanying Barbra’s flight from the cemetery zombie, was taken from the score for The Hideous Sun Demon (1959). According to WRS, “We chose a selection of music for each of the various scenes and then George made the final selections. We then took those selections and augmented them electronically”. Sound tech R. Lococo’s choices worked well, as Film historian Sumiko Higashi believes that the music “signifies the nature of events that await”.
Sound effects were created by WRS Studio in Pittsburgh. “Sound engineer Richard Lococo recorded all of the live sound effects used in the film”. Lococo recalled, “Of all the sound effects that we created, the one that still gives me goosebumps when I hear it, is Marilyn’s screaming as [Helen Cooper] is killed by her daughter. Judy O’Dea’s screaming is a close second. Both were looped in and out of echo over and over again”.
|Night of the Living Dead: Original Motion Picture Soundtrack|
|Film score by Various Artists|
|Producer||Scot W. Holton|
A soundtrack album featuring music and dialogue cues from the film was compiled and released on LP by Varèse Sarabande in 1982; it has never been reissued on CD. In 2008, recording group 400 Lonely Things released the album Tonight of the Living Dead, “an instrumental album composed entirely of ambient music and sound effects sampled from Romero’s 1968 horror classic”. In 2010, the record company Zero Day Releasing released the CD They Won’t Stay Dead!: Music from the soundtrack of Night of the Living Dead. It features all-new digitally restored audio from original library LPs and reels. Widely unknown David Ruch a aspiring musician helped extensively with the movies score however received no credit as many contributors did not promoting thought zombies alive and well beyond the theater…
|1.||“Driveway to the Cemetery (Main Theme)”||Spencer Moore||02:19|
|2.||“At the Gravesite/Flight/Refuge”||William Loose/Loose—Seely/W. Loose||03:42|
|3.||“Farmhouse/First Approach”||Geordie Hormel||01:16|
|4.||“Ghoulash (J.R.’s Demise)”||Ib Glindemann||03:30|
|5.||“Boarding Up”||G. Hormel/Loose—Seely/Glindemann||03:00|
|6.||“First Radio Report/Torch on the Porch”||Phil Green/G. Hormel||02:27|
|7.||“Boarding Up 2/Discovery: Gun ‘n Ammo”||G. Hormel||02:07|
|8.||“Cleaning House”||S. Moore||01:36|
|9.||“First Advance”||Ib Glindemann||02:43|
|10.||“Discovery of TV/Preparing to Escape/Tom & Judy” (All the samples of the track were composed by Geordie Hormel)||G. Hormel/J. Meakin/J. Meakin||04:20|
|11.||“Attempted Escape”||G. Hormel||01:29|
|12.||“Truck on Fire/Ben Attacks Harry/Leg of Leg*” (*electronic sound effects by Karl Hardman)||G. Hormel||03:41|
|13.||“Beat ‘Em or Burn ‘Em/Final Advance” (Final Advance was composed by Harry Bluestone and Emil Cadkin)||G. Hormel||02:50|
|14.||“Helen’s Death*/Dawn/Posse in the Fields/Ben Awakes” (*electronic sound effects by Karl Hardman)||S. Moore||03:05|
|15.||“O.K. Vince/Funeral Pyre (End Title)”||S. Moore||01:10|
Night of the Living Dead premiered on October 1, 1968 at the Fulton Theater in Pittsburgh. Nationally, it was shown as a Saturday afternoon matinée – as was typical for horror films at the time – and attracted an audience consisting of pre-teens and adolescents. The MPAA film rating system was not in place until November 1968, so even young children were not prohibited from purchasing tickets. Roger Ebert of the Chicago Sun-Times chided theater owners and parents who allowed children access to the film with such potent content for a horror film they were entirely unprepared for: “I don’t think the younger kids really knew what hit them,” he said. “They were used to going to movies, sure, and they’d seen some horror movies before, sure, but this was something else.” According to Ebert, the film affected the audience immediately:
The kids in the audience were stunned. There was almost complete silence. The movie had stopped being delightfully scary about halfway through, and had become unexpectedly terrifying. There was a little girl across the aisle from me, maybe nine years old, who was sitting very still in her seat and crying… It’s hard to remember what sort of effect this movie might have had on you when you were six or seven. But try to remember. At that age, kids take the events on the screen seriously, and they identify fiercely with the hero. When the hero is killed, that’s not an unhappy ending but a tragic one: Nobody got out alive. It’s just over, that’s all.
Response from Variety after the initial release reflects the outrage generated by Romero’s film: “Until the Supreme Court establishes clear-cut guidelines for the pornography of violence, Night of the Living Dead will serve nicely as an outer-limit definition by example. In [a] mere 90 minutes this horror film (pun intended) casts serious aspersions on the integrity and social responsibility of its Pittsburgh-based makers, distributor Walter Reade, the film industry as a whole and [exhibitors] who book [the picture], as well as raising doubts about the future of the regional cinema movement and about the moral health of film goers who cheerfully opt for this unrelieved orgy of sadism…”
One commentator asserts that the film garnered little attention from critics, “except to provoke argument about censoring its grisly scenes”.
Despite the controversy, five years after the premiere Paul McCullough of Take One observed that Night of the Living Dead was the “most profitable horror film ever […] produced outside the walls of a major studio”. The film had earned between $12 and $15 million at the American box office after a decade. It was translated into more than 25 languages and released across Europe, Canada and Australia. Night of the Living Dead grossed $30 million internationally, and the Wall Street Journal reported that it was the top-grossing film in Europe in 1969.
More than 40 years after its release, the film enjoys a reputation as a classic and still receives positive reviews; review aggregation website Rotten Tomatoes retrospectively collected 52 reviews and gave Night of the Living Dead a 96% “Certified Fresh”, and it is regarded by many as one of the best films of 1968. In 2008, the film was ranked by Empire magazine No. 397 of The 500 Greatest Movies of All Time. The New York Times also placed the film on their Best 1000 Movies Ever list. In January 2010, Total Film included the film on its list of The 100 Greatest Movies of All Time. Rolling Stone magazine named Night of the Living Dead one of The 100 Maverick Movies in the Last 100 Years. Reader’s Digest found it to be the 12th scariest movie of all time.
Night of the Living Dead was also awarded two distinguished honors decades after its debut. The Library of Congress added the film to the National Film Registry in 1999 with other films deemed “culturally, historically or aesthetically significant”. In 2001, the film was ranked No. 93 by the American Film Institute on their AFI’s 100 Years…100 Thrills list, a list of America’s most heart-pounding movies. The zombies in the picture were also a candidate for AFI’s AFI’s 100 Years…100 Heroes & Villains, in the villains category, but failed to make the official list. The Chicago Film Critics Association named it the 5th scariest film ever made. The film also ranked No. 9 on Bravo‘s The 100 Scariest Movie Moments.
Reviewers disliked the film’s gory special effects. Variety labeled Night of the Living Dead an “unrelieved orgy of sadism” and questioned the “integrity and social responsibility of its Pittsburgh-based makers”. The New York Times critic Vincent Canby referred to the film as a “junk movie” as well as “spare, uncluttered, but really silly”.
Some reviewers cited the film as groundbreaking. Pauline Kael called the film “one of the most gruesomely terrifying movies ever made – and when you leave the theatre you may wish you could forget the whole horrible experience. . . . The film’s grainy, banal seriousness works for it – gives it a crude realism”. A Film Daily critic commented, “This is a pearl of a horror picture that exhibits all the earmarks of a sleeper.” While Roger Ebert criticized the matinée screening, he admitted that he “admires the movie itself”. Critic Rex Reed wrote, “If you want to see what turns a B movie into a classic […] don’t miss Night of the Living Dead. It is unthinkable for anyone seriously interested in horror movies not to see it.”
Since the release, some critics and film historians have seen Night of the Living Dead as a subversive film that critiques 1960s American society, international Cold War politics and domestic racism. Elliot Stein of The Village Voice saw the film as an ardent critique of American involvement in the Vietnam War, arguing that it “was not set in Transylvania, but Pennsylvania – this was Middle America at war, and the zombie carnage seemed a grotesque echo of the conflict then raging in Vietnam”. Film historian Sumiko Higashi concurs, arguing that Night of the Living Dead was a film about the horrors of the Vietnam era. While she admits that “there are no Vietnamese in Night of the Living Dead, […] they constitute an absent presence whose significance can be understood if narrative is construed”. She points to aspects of the Vietnam War paralleled in the film: grainy black-and-white newsreels, search and destroy operations, helicopters, and graphic carnage. In the 2009 documentary film Nightmares in Red, White and Blue, the zombies in the film are compared to the “silent majority” of the U.S. in the late 1960s.
While George Romero denies he hired Duane Jones simply because he was black, reviewer Mark Deming notes that “the grim fate of Duane Jones, the sole heroic figure and only African-American, had added resonance with the assassinations of Martin Luther King, Jr. and Malcolm X fresh in the minds of most Americans”. Stein adds, “In this first-ever subversive horror movie, the resourceful black hero survives the zombies only to be killed by a redneck posse”. The deaths of Ben, Barbra and the supporting cast offered audiences an uncomfortable, nihilistic glimpse unusual for the genre.
Other prevalent themes included “disillusionment with government and patriarchal nuclear family” and “the flaws inherent in the media, local and federal government agencies, and the entire mechanism of civil defense”. Film historian Linda Badley explains that the film was so horrifying because the monsters were not creatures from outer space or some exotic environment, “They’re us”. Romero confessed that the film was designed to reflect the tensions of the time: “It was 1968, man. Everybody had a ‘message’. The anger and attitude and all that’s there is just because it was the Sixties. We lived at the farmhouse, so we were always into raps about the implication and the meaning, so some of that crept in”.
Respected commentators (Locke, Sutter, Giddins, and Daniel) continue their claim that this film is worth praise as it is both ground-breaking and thought-provoking. Their assertion is framed to suggest that NotLD demystifies the discourse pertaining to humanity’s disregard, aversion, and perhaps, loathing, directed towards others outside their social realm from the halls of academia and into the homes of the viewer for reflective analysis.
Romero revolutionized the horror film genre with Night of the Living Dead; according to Almar Haflidason of the BBC, the film represented “a new dawn in horror film-making”. The film has also effectively redefined the use of the term “zombie“. While the word “zombie” itself is never used—the word used in the film is ghoul—Romero’s film introduced the theme of zombies as reanimated, flesh-eating cannibals. Early zombie films like Victor Halperin’s White Zombie (1932) and Jacques Tourneur‘s I Walked with a Zombie (1943) concerned living people enslaved by a Voodoo witch doctor, not flesh-eating, decaying, reanimated bodies; many were set in the Caribbean.
The film and its successors spawned countless imitators, in cinema, television and video gaming, which borrowed elements invented by Romero. Night of the Living Dead ushered in the splatter film subgenre. As one film historian points out, horror prior to Romero’s film had mostly involved rubber masks and costumes, cardboard sets, or mysterious figures lurking in the shadows. They were set in locations far removed from rural and suburban America. Romero revealed the power behind exploitation and setting horror in ordinary, unexceptional locations and offered a template for making an “effective and lucrative” film on a “minuscule budget”. Slasher films of the 1970s and 80s such as John Carpenter‘s Halloween (1978), Sean S. Cunningham‘s Friday the 13th (1980), and Wes Craven‘s A Nightmare on Elm Street (1984) “owe much to the original Night of the Living Dead“, according to author Barry Keith Grant.
The first revisions of Night of the Living Dead involved colorization by home video distributors. Hal Roach Studios released a colorized version in 1986 that featured ghouls with pale green skin. Another colorized version appeared in 1997 from Anchor Bay Entertainment with grey-skinned zombies. In 2004, Legend Films produced a new colorized version. Technology critic Gary W. Tooze wrote that “The colorization is damn impressive”, but noticed the print used was not as sharp as other releases of the film. In 2009, Legend Films coproduced a colorized 3D version of the film with PassmoreLab, a company that converts 2-D film into 3-D format. The film was theatrically released on October 14, 2010. According to Legend Films founder Barry Sandrew, Night of the Living Dead is the first entirely live action 2-D film to be converted to 3-D.
In 1999, co-writer John A. Russo released a modified version called Night of the Living Dead: 30th Anniversary Edition. He filmed additional scenes and recorded a revised soundtrack composed by Scott Vladimir Licina. In an interview with Fangoria magazine, Russo explained that he wanted to “give the movie a more modern pace”. Russo took liberties with the original script. The additions are neither clearly identified nor even listed. However, Entertainment Weekly reported “no bad blood” between Russo and Romero. The magazine quoted Romero as saying, “I didn’t want to touch Night of the Living Dead“. Critics panned the revised film, notably Harry Knowles of Ain’t It Cool News. Knowles promised to permanently ban anyone from his publication who offered positive criticism of the film.
A collaborative animated project known as Night of the Living Dead: Reanimated was screened at several film festivals and was released onto DVD on July 27, 2010 by Wild Eye Releasing. This project aims to “reanimate” the 1968 film by replacing Romero’s celluloid images with animation done in a wide variety of styles by artists from around the world, laid over the original audio from Romero’s version. Night of the Living Dead: Reanimated premiered theatrically on October 10, 2009 in Ramsey, New Jersey at the Zombie Encounter and Film Festival. Night of the Living Dead: Reanimated was nominated in the category of Best Independent Production (film, documentary or short) for the 8th Annual Rondo Hatton Classic Horror Awards, but lost to American Scary, a documentary on television horror movie hosts.
In 2009, Mike Nelson of Mystery Science Theater 3000 fame released a single-person “riff” on the movie, providing humorous commentary through the course of the movie. Later a revision was made featuring Nelson along with Bill Corbett and Kevin Murphy who had previously worked with Nelson on Mystery Science Theater 3000. The movie is available as downloadable video file or as a DVD through the group’s website RiffTrax which is under the influence of Legend Films.
On September 16, 2015, comic publisher Double Take, a subsidiary of Take Two Interactive, headed by former Marvel executive Bill Jemas released 10 comic book series based upon the 1968 film entitled “Ultimate Night of the Living Dead”.
List of Anniversary Editions
- Night of the Living Dead: 30th Anniversary Edition 1998
- Night of the Living Dead 40th Anniversary Edition 2008
- Night of the Living Dead 25th Anniversary Edition Documentary
Romero’s Dead films
Night of the Living Dead is the first of six …of the Dead films directed by George Romero. Following the 1968 film, Romero released Dawn of the Dead, Day of the Dead, Land of the Dead, Diary of the Dead and Survival of the Dead. Each film traces the evolution of the living dead epidemic in the United States and humanity’s desperate attempts to cope with it. As in Night of the Living Dead, Romero peppered the other films in the series with critiques specific to the periods in which they were released.
Return of the Living Dead series
The same year Day of the Dead premiered, Night of the Living Dead co-writer John Russo released a film titled The Return of the Living Dead that offers an alternate continuity to the original film than Dawn of the Dead, but acted more as a parody or satire and is not considered a sequel to the original 1968 film. Russo’s film spawned four sequels. Return of the Living Dead sparked a legal battle with Romero, who believed Russo marketed his film in direct competition with Day of the Dead as a sequel to the original film. In the case Dawn Associates v. Links, Romero accused Russo of “appropriat[ing] part of the title of the prior work”, plagiarizing Dawn of the Dead’s advertising slogan (“When there is no more room in hell […] the dead will walk the earth”), and copying stills from the original 1968 film. Romero was ultimately granted a restraining order that forced Russo to cease his advertising campaign. Russo, however, was allowed to retain his title.
George Cameron Romero, the son of director George A. Romero, was in pre-production on Origins in 2012. The film would serve as a prequel to the original film. Cameron Romero co-wrote along with Darrin Reed and Bryce C. Campbell. The film would reportedly be produced by Ted Field and Aldo LaPietra for Radar Pictures.
Starting in 2015, and working from the original camera negatives and audio track elements, a 4K digital restoration of Night of the Living Dead was undertaken by the Museum of Modern Art (MoMA) and The Film Foundation. The fully restored version was shown at MoMA in November of 2016 as part of To Save and Project: The 14th MoMA International Festival of Film Preservation.
The first remake, debuting in 1990, was directed by special effects artist Tom Savini. It was based on the original screenplay, but included more gore and a revised plot that portrayed Barbra (Patricia Tallman) as a capable and active heroine. Tony Todd played the role of Ben. Film historian Barry Grant saw the new Barbra as a corrective on the part of Romero. He suggests that the character was made stronger to rectify the depiction of female characters in the original film.
The second remake was in 3-D and released in September 2006 under the title Night of the Living Dead 3D, directed by Jeff Broadstreet. Unlike Savini’s 1990 film, Broadstreet’s project was not affiliated with Romero. Broadstreet’s film was followed in 2012 by the prequel Night of the Living Dead 3D: Re-Animation.
On September 15, 2009, it was announced that Simon West was producing a 3D animated retelling of the original movie, originally titled Night of the Living Dead: Origins 3D and later re-titled Night of the Living Dead: Darkest Dawn. The movie is written and directed by Zebediah de Soto. The voice cast includes Tony Todd as Ben, Danielle Harris as Barbra, Joseph Pilato as Harry Cooper, Alona Tal as Helen Cooper, Bill Moseley as Johnny, Tom Sizemore as Chief McClellan and newcomers Erin Braswell as Judy and Michael Diskint as Tom.
Due to the film’s perceived public domain status, several independent film companies have also done remakes of the film.
- Night of the Living Dead: Resurrection (2012): British director James Plumb made this remake set in Wales.
- A Night of the Living Dead (2014): Shattered Images Films and Cullen Park Productions released a remake with new twists and characters, written and directed by Chad Zuver.
- Night of the Living Dead: Genesis (2016): Director Matt Cloude initially announced this remake project in 2011. The film has undergone several transitions in the ensuing years. It brings back several alumni of Romero’s initial trilogy, including Judith O’Dea as the Barbra character.
- Night of the Living Dead: Rebirth (TBD): Rising Pulse Productions is set to release an updated take on the classic film that brings to light present issues that impact modern society such as religious bigotry, homophobia, and the influence of social media.
Night of the Living Dead entered the public domain in the United States because the original theatrical distributor, the Walter Reade Organization, neglected to place a copyright indication on the prints. In 1968, United States copyright law required a proper notice for a work to maintain a copyright. Image Ten displayed such a notice on the title frames of the film beneath the original title, Night of the Flesh Eaters. The distributor removed the statement when it changed the title.
Because of its public domain status, the film is sold on home video by many distributors. As of 2017, Amazon.com lists copies of Night of the Living Dead numbering 18 on VHS, 219 on DVD, 10 on Blu-ray and 44 on Amazon Video. The original film is available to view or download free on Internet sites, such as Internet Archive, Hulu, and YouTube. As of January 22, 2017, it is the Internet Archive’s most-downloaded film, with over 2.8 million downloads. It is also one of the first movies known to be distributed on the Internet.
Patient Zero (film)
|Directed by||Stefan Ruzowitzky|
|Produced by||Vincent Newman|
|Written by||Mike Le|
|Music by||Johnny Klimek|
|Edited by||Mark Stevens|
Vincent Newman Entertainment
|Distributed by||Screen Gems|
Patient Zero, previously known as Patient Z, is an upcoming American-British fantasy–horror thriller film directed by Stefan Ruzowitzky and written by Mike Le. The film stars Matt Smith, Natalie Dormer, Stanley Tucci, Agyness Deyn and Clive Standen. Filming began on March 3, 2015 in London. Screen Gems will release the film.
After a pandemic outbreak, a mutated form of rabies results in most humans being turned into a highly intelligent new species known as “The Infected”: a human survivor, Morgan (Matt Smith), with the ability to talk with the “infected,” investigates these species and pursues “Patient Zero” to find an antidote to save humanity, including his infected wife. Aiding Morgan on the mission to find Patient Zero is CDC virologist Dr. Gina Rose (Natalie Dormer), leading the scientific research efforts, while Colonel Knox (Clive Standen) is in charge of the military front.
- Matt Smith as Morgan
- Natalie Dormer as Dr. Gina Rose
- Stanley Tucci
- Clive Standen as Colonel Knox
- Agyness Deyn as Janet
- John Bradley-West as Scooter
The script for the movie was the subject of a bidding war between several different studios including Fox Searchlight Pictures . Silver Pictures, Davis Entertainment, Broken Road Productions, Donners’ Company, Vincent Newman Entertainment and Misher Films. The script is set in a post-apocalyptic world, about a man who has to find an antidote for his zombie infected wife. Screen Gems eventually won the bidding war and Vincent Newman was set to produce through his Vincent Newman Entertainment. Austrian director Stefan Ruzowitzky was set to direct the film on May 2, 2014.
Natalie Dormer‘s involvement was announced in September 2014’. Followed by Matt Smith joining that November. Other roles were announced in early 2015 with Stanley Tucci joining in January John Bradley-West  and Clive Standen joining in February.  and Agyness Deyn joining in March 
Principal photography on the film began in London on March 3, 2015. On March 9, shooting was underway at Shepperton Studios in England. Filming would take place in London through April 18, 2015. They have also filmed in Welwyn Garden City on April 15, 2015 where a SWAT van and car were seen on set.
In August 2015, Sony Pictures Entertainment set the film for a September 2, 2016 release. On April 28, 2016, the film was delayed to February 17, 2017. In January 2017, the film was removed from the release schedule.
The fascination with zombie infection has spread all over the world from Cuba to Japan and now Sweden’s own has made their film interpretation of the virus. In ZON 261, the year is 2013 and survivors in an apocalyptic Landskrona struggle to escape both the city and the impending threat of infection. Billed as a “a zombie movie – that isn’t a zombie movie – about xenophobia,” zombie films and political and social statements go together like peanut butter and jelly.
Fredrik Hiller’s ZON 261 provides a unique film experience, as the zombies appear aware of their surroundings and capable of logical thought despite their desiccated bodies.
|Train to Busan|
Korean film poster
|Directed by||Yeon Sang-ho|
|Produced by||Lee Dong-ha|
|Written by||Park Joo-suk|
|Music by||Jang Young-gyu|
|Edited by||Yang Jin-mo|
|Distributed by||Next Entertainment World|
|Box office||$87.5 million|
Train to Busan (Hangul: 부산행; RR: Busanhaeng) is a 2016 South Korean zombie apocalypse horror thriller film directed by Yeon Sang-ho and starring Gong Yoo, Jung Yu-mi, and Ma Dong-seok. The film takes place in a train to Busan, as a zombie apocalypse suddenly breaks in the country and compromises the safety of the passengers.
The film had its premiere in the Midnight Screenings section at the 2016 Cannes Film Festival on 13 May. On 7 August, the film set a record as the first Korean film of 2016 to break the audience record with over 10 million theatergoers. The film serves as a reunion for Gong Yoo and Jung Yu-mi, who both starred in the 2011 film The Crucible.
Seok-Woo, a divorced fund manager, is a workaholic and absentee father to his young daughter, Soo-an. For her birthday the next day, she wishes for her father to bring her to Busan to see her mother. They board the KTX at a station in Seoul, also occupied by tough working-class husband Sang-hwa and his pregnant wife Seong-kyeong, a high school baseball team, a rich but selfish CEO Yon-suk, elderly sisters In-gil and Jon-gil, and a homeless man.
As the train departs, a convulsing young woman boards the train with a bite wound on her leg. The woman becomes a zombie, attacking a train attendant who also turns into a zombie. The infection quickly spreads throughout the train. Baseball player Yong-guk, a girl named Jin-hee who has a crush on him, and several passengers manage to escape to another car. News broadcasts report zombie outbreaks throughout the country. The train stops at Daejeon, but the surviving passengers find that the city has also been overrun, and they hastily retreat back to the train, splitting up in the chaos. The conductor restarts the train to head to Busan, where a successful quarantine zone has reportedly been established.
Seok-Woo, Sang-hwa and Yong-guk fight their way to where Su-an, In-gil, and Seong-kyeong are hiding, and together they struggle through the zombie horde to the front train car, where the other passengers are sheltered. However, Yon-suk and the other passengers deliberately block the survivors from entering, believing they have been bitten. Sang-hwa and In-gil sacrifice themselves to give the others time to force open the door and enter the car. Fearing that the newcomers may be infected, Yon-suk and the others demand that they isolate themselves in the vestibule. When Jong-gil deliberately opens the door to the zombies to be with her zombified sister In-gil, the zombies kill the rest of the passengers, leaving Seok-Woo, Su-an and Seong-kyeong safe, as they are in the vestibule. Yon-suk and the train attendant escape the onslaught by hiding in the bathroom.
A blocked track at East Daegu train station forces the survivors to stop and search for another train. In the process, Seok Woo, Seong Kyeong, Su-An, and the homeless man are separated from Yong-guk and Jin-hee after a burning train crashes. Yon-suk escapes after pushing the train attendant to be eaten by the zombies, then does the same with Jin-Hee. Heartbroken, Yong-Guk stays with Jin-Hee, and is bitten by her. The train conductor starts a locomotive on another track, but is also killed by zombies while trying to save Yon-suk. The homeless man sacrifices himself to let Su-an and Seong-kyeong escape with Seok-Woo into the train the conductor had activated. They encounter Yon-suk in the engine room, on the verge of turning into a zombie. Seok-woo fights him off, but is himself bitten. He puts Su-an and Seong-kyeong inside the engine room, and shares his last words with his daughter before moving outside. As he zombifies, he thinks of the first time he held his daughter in his arms, and throws himself off the locomotive with a smile.
Su-an and Seong-kyeong get off at Busan, and begin walking through the tunnel. Unable to see them clearly, the soldiers at the checkpoint are instructed to shoot them. However, the soldiers are startled to hear singing, prompting them to descend on the tunnel to rescue them: it is Su-an, tearfully singing the song that she had wanted to sing for her father at the beginning of the film, in honor of his heroic sacrifice.
- Gong Yoo as Seok-woo, a fund manager obsessed with his work
- Jung Yu-mi as Seong-kyeong, Sang-hwa’s pregnant wife
- Kim Su-an as Soo-an, Seok-woo’s young daughter who wants to go to Busan to see her mother
- Ma Dong-seok as Sang-hwa, a tough, working-class man
- Sohee as Jin-hee, Yong-guk’s romantic interest
- Kim Eui-sung as Yon-suk, a rich CEO
- Choi Woo-shik as Yong-guk, a young baseball player
- Choi Gwi-hwa as a homeless man
- Jung Suk-yong as Captain of KTX
- Ye Soo-jung as In-gil
- Park Myung-sin as Jong-gil
- Jang Hyuk-jin as Ki-chul
- Kim Chang-hwan as Kim Jin-mo
- Shim Eun-kyung as Runaway Girl
Train to Busan grossed $87.5 million worldwide. It became the highest-grossing Korean film in Malaysia ($4.84 million), Hong Kong ($8.52 million), and Singapore ($3.1 million). It recorded more than 11 million movie goers in South Korea.
The film has received generally positive reviews. Rotten Tomatoes gave the film a 96% approval rating based on 78 collected reviews, with an average rating of 7.6 out of 10. The site’s consensus states: “Train to Busan delivers a thrillingly unique – and purely entertaining – take on the zombie genre, with fully realized characters and plenty of social commentary to underscore the bursts of skillfully staged action”. Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, gives the film an average score of 72 based on 15 reviews, indicating “generally favorable reviews”. Clark Collis of Entertainment Weekly writes that the film “borrows heavily from World War Z in its depiction of the fast-moving undead masses while also boasting an emotional core the Brad Pitt-starring extravaganza often lacked,” adding that “the result is first-class throughout.” The film receives a coveted “The New York Times Critics’ Pick” badge, with reviewer Jeannette Catsoulis taking notice of the film’s subtle class warfare.
In contrast, the negative reviews have described the film as “Snowpiercer with zombies.” David Ehrlich of IndieWire comments that “as the characters whittle away into archetypes (and start making senseless decisions), the spectacle also sheds its unique personality.” Kevin Jagernauth of The Playlist writes: “(Train to Busan) doesn’t add anything significant to the zombie genre, nor has anything perceptive to say about humanity in the face of crisis. Sure, it lacks brains, and that’s the easy quip to make, but what Train To Busan truly needs, and disappointingly lacks, is heart.”
Awards and nominations
|11th Asian Film Awards||Best Actor||Gong Yoo||Pending|
|Best Supporting Actor||Ma Dong-seok||Pending|
|Best Editor||Yang Jin-mo||Pending|
|Best Visual Effects||Jung Hwang-su||Pending|
|Best Costume Designer||Kwon Yoo-jin, Rim Seung-hee||Pending|
|37th Blue Dragon Film Awards||Best Film||Train to Busan||Nominated|
|Best Supporting Actor||Kim Eui-sung||Nominated|
|Best Supporting Actress||Jung Yu-mi||Nominated|
|Best New Director||Yeon Sang-ho||Nominated|
|Best Art Direction||Lee Mok-won||Nominated|
|Best Screenplay||Park Joo-seok||Nominated|
|Best Editing||Yang Jin-mo||Nominated|
|Best Cinematography||Lee Hyeong-deok||Nominated|
|Best Lighting||Park Jeong-woo||Nominated|
|Technical Award||Kwak Tae-yong and Hwang Hyo-gyoon (Special makeup)||Won|
|Audience Choice Award for Most Popular Film||Train to Busan||Won|
|25th Buil Film Awards||Best Film||Train to Busan||Nominated|
|Best Supporting Actor||Kim Eui-sung||Won|
|Best Supporting Actress||Jung Yu-mi||Nominated|
|Best Cinematography||Lee Hyeong-deok||Nominated|
|Best Art Direction||Lee Mok-won||Nominated|
|Yu Hyun-mok Film Arts Award||Yeon Sang-ho||Won|
|1st International Film Festival & Award Macao||Asian Blockbuster Film||Train to Busan||Won|
|36th Korean Association of Film Critics Awards||Technical Award||Train to Busan||Won|
Me and My Mates vs the Zombie Apocalypse
|Me and My Mates vs the Zombie Apocalypse|
Me and My Mates vs the Zombie Apocalypse US film poster
|Directed by||Declan Shrubb|
|Written by||Declan Shrubb|
|Edited by||Rafael Perez|
|Distributed by||Titan View
Me and My Mates vs the Zombie Apocalypse (working title: Dead Exchange) is a 2015 Australian zombie comedy horror film written and directed by Declan Shrubb and developed through ScreenACT’s 2012 Low Budget Feature Pod. The film features the actors Jim Jefferies, Alex Williamson, Adele Vuko, Greg Fleet, Andy Trieu and Matt Popp, with cameos by Eso from Bliss N Eso, Jim Punnett and The Roundabout Crew.
The film is described as “the first oz-zom-com,” and an Australian zombie comedy representing is the feature film debut of Australian comedians Jim Jefferies and Alex Williamson. Written and directed by Declan Shrubb, the film tells the story of three Australian telecom tradesmen who find themselves trapped in a telephone exchange during the onset of a zombie apocalypse. Filming began January 2014 in Canberra and was completed on February 2.
Under its working title of Exchange, the film was one of ten projects selected out of 42 submissions to ScreenACT. The project received production funding and the production team received the benefit of a program consisting of three months of intensive development, working on script, budget, financing and distribution plans. It was one of three films chosen for production funding of $120,000 but was the only film that ended up being produced.
The project is a crowd funded feature film which was made possible through indiegogo. The team behind the film raised $41,439 USD with 471 backers, surpassing their initial goal of $30,000 USD and breaking the record at the time for crowdfunding an Australian feature film.
The completed film was released in Australian cinemas via the Tugg cinema-on-demand platform. Premiering on July 24, 2015, it became Tugg Australia’s most requested film, and was featured on National 7 News for this accomplishment. It screened in every state and territory in Australia. It is distributed through their website where it can be rented or purchased. and in stores on DVD and Vimeo-on-Demand September 9, 2015. It was released on DVD in UK on May 2, 2016 through Matchbox Films, and was released in the US on July 5, 2016 by Lightyear Entertainment.
The zombie apocalypse has finally happened in Australia; two tradesmen, Darryl (Alex Williamson) and Joel (Jim Jefferies), meet at a telephone exchange tower to take refuge in it. The two meet at the front and Joel shows Darryl that their friend Roy’s (Greg Fleet) undead wife (Jackie Murray) is in the back of his ute, which prevents them from retrieving their beer. After an argument Darryl is forced to shoot Roy’s wife in the head. Their older friend Roy meets the two there with his daughter Emma (Adele Vuko), and Darryl proceeds to poorly flirt with Emma, much to Roy’s dismay.
After discussion about their plans to survive, Joel decides to fix the 3G tower to make an emergency call to the military to alert them of their location and to get rescued by the military. While waiting for the tower to get fixed, Emma and Darryl become intimate, during which a firework goes off in the distance and the zombies surrounding their location migrate. At this point two strangers wearing paintballing gear enter the tower; they remove their masks and are revealed to be the apprentices: Ryan (Matt Popp) and Lachlan (Andy Trieu), who is Emma’s boyfriend. Joel fixes the phone line and talks with the military, telling them that there are survivors in the tower. Meanwhile, the apprentices tell the other guys that the military caused the zombie apocalypse and that calling them is the last thing they should do. The team then argues and decides to split up, Joel, Roy and Darryl wish to get picked up by the military and Ryan, Lachlan and Emma decide to hide in case the military are in fact malicious. Roy begins to show symptoms that he is infected.The military jeep drives past and misses the tower. Joel goes to the roof to launch fireworks to catch the military’s attention, the firework falls and ignites the pile in Joel’s arms, Joel is blown up by the fireworks.
The military pull up to evacuate the building and distracted by Roy’s poor wording of the situation, the two soldiers are then eaten by the hoard of zombies, during this a zombie picks up Joel’s access card from his severed leg. The team decides to make a dash for the military’s weapons and vehicle, during the planning, the zombie that grabbed the access card opens the building and the hoard begins to move in. The apprentices make a dash to drive off the hoard while Emma runs to the senior soldier’s corpse to retrieve his car keys. She starts the car and grabs the apprentices, Lachlan sprains his ankle running to the car.Darryl admits to Roy that he slept with his daughter, after tormenting Darryl, Roy radios Emma to tell her to just drive away and leave him and Darryl to die, and to set off a flare once her and the apprentices are safe.
At this point Darryl admits to Roy that he shot his wife. Roy and Darryl decide that Roy gets to Darryl on account of killing his wife and having sex with his daughter in the same afternoon, Darryl defuses the situation by showing Roy the grenade he found, they climb out of the fire escape and Darryl bowls the now ignited grenade into the fire escape, blowing up the zombies chasing them. The sun now rises and they believe they have made it out alive, another hoard walks around the corner of the building and the two have one last smoke before fighting and ultimately being over run by the zombies. As they lie dying they see the flare Roy instructed Emma to set off once she was far away.
- Jim Jefferies as Joel
- Adele Vuko as Emma
- Alex Williamson as Darryl
- Andy Trieu as Lachlan
- Matt Popp as Ryan
- Greg Fleet as Roy
- Jackie Murray as Roy’s Wife
- Jim Punnett as Junior Soldier
- Brendan Kelly as Screwdriver Zombie
- Naomi Turvey as Athletic Girl Zombie
- Max Mackinnon as Soldier
- Dorothy Kocsi as Hysterical Towel Girl
- Adam Spicer as Ugly Zombie
- Matt Leonard as Zombie Extra
- Simon Kiker as Beheaded Zombie
- Ryan Obstoy as Metalhead Zombie #2
- Shannon Bunfield as Office Worker Zombie
- Glen Bunfield as Office Worker Zombie
- Brendan Farrugia as Zombie Extra
- Peter Lewry as Lawn Mower Zombie
- Lynelle O’Flaherty as Neck Gash Zombie
- Brad Dorrington as Zombie Extra
- Leland Neville as Zombie Extra
- Ryan Croft]as Neck Gash Zombie
- Mindy Hughes as Tunnel Zombie
- Oliver Durbidge as Cyclist Zombie
- Michael Naim as Zombie Extra
- Rob Volant as Metalhead Zombie #1
The film began its Australian cinema run on July 24, 2015 through the Tugg cinema-on-demand platform.
The film was released on DVD, Vimeo and other VOD platforms in Australia on September 23, 2015, available for purchase at stores such as JB Hi-Fi and Sanity. It was released in the UK on May 2, 2016 and to DVD, VOD, and digital channels in the US on July 5, 2016.
- Official Selection of Sitges Film Festival (2015)
- Official Selection of UK Festival of Zombie Culture (2015)
- Dead Walk Fest (2016)
I Survived a Zombie Holocaust
|I Survived A Zombie Holocaust|
|Directed by||Guy Pigden|
|Written by||Guy Pigden|
|Music by||Mike J. Newport|
|Edited by||Tori Bindoff|
I Survived a Zombie Holocaust is a 2014 horror film that was directed and written by Guy Pigden, and is his feature film directorial debut. The film had its world premiere on 16 August 2014 in Dunedin, New Zealand. Filming for I Survived a Zombie Holocaust took place in Dunedin and was credited by its producer Zoe Hobson as being “the first New Zealand Film Commission-funded feature to be made in Dunedin with a local cast and crew in 15 years.”
Wesley (Harley Neville) couldn’t be happier- he has managed to land a job as a runner for an upcoming horror film, Tonight They Come. He also feels that he’s met the girl of his dreams in the set caterer Susan (Jocelyn Christian), which makes things that much better. The only problem is that the director seems keen on using Wesley as a whipping boy to vent his frustrations and to make matters worse, the film’s extras all seem to have become zombies intent on killing them all.
- Harley Neville as Wesley Pennington
- Jocelyn Christian as Susan Ford
- Ben Baker as Tane Henare
- Reanin Johannink as Jessica Valentine
- Mike Edward as Adam Harrison
- Andrew Laing as SMP
- Simon Ward as Richard Driver
- Mark Neilson as Randy Bateman
- Patrick Davies as Greg Winston
- Harry Love as Harold Beasley
Critical reception for I Survived a Zombie Holocaust has been positive. Grolsch Film Works and Nerdly both praised the film, with Grolsch Film Works stating “More or less immunising itself against charges of unoriginality by constantly offering reflexive commentary on its own movie-bound qualities (or lack thereof), Pigden’s film is an affectionate trawl though the mechanics of the modern zombie picture.” SciFiNow was more critical in their review, writing “This well-intentioned horror comedy gets a few laughs and the cast are game (Ben Baker is particularly fun as ex-rugby player and glory-days obsessed Tane) but there’s not really too much going on here beyond the meta zombie movie jokes. One or two sequences work very well (such as the director convincing his first AD to literally sacrifice himself for the art) but it’s overlong at 100-odd minutes and it struggles to find jokes beyond the self-referential. It’s difficult to criticise a film this amiable too harshly, but it’s not particularly funny.”
I Drink Your Blood
|I Drink Your Blood|
|Directed by||David E. Durston|
|Produced by||Jerry Gross|
|Written by||David E. Durston|
|Starring||Bhaskar Roy Chowdhury
Lynn Lowry (uncredited)
|Music by||Clay Pitts|
Joseph Mangine (uncredited)
|Edited by||Lyman Hallowell|
|Distributed by||Cinemation Industries|
| December 1970
July 1, 1978
DVD released 2000 (Grindhouse Releasing)
I Drink Your Blood (also known as Hydro-Phobia) is a cult horror film originally released in 1970. The film was written and directed by David E. Durston, produced by Jerry Gross, and starred Bhaskar Roy Chowdhury and Lynn Lowry.
A Manson Family style cult conducts a bizarre Satanic ritual in the woods at night. A member notices a local girl, Sylvia, furtively watching the event. She had befriended a member, Andy, who invited her to watch. The angered group leader Horace Bones leads an assault on the girl.
The next morning, Sylvia emerges from the woods beaten and apparently raped. She is found by Mildred, the woman who runs the local bakery, and Pete, Sylvia’s younger brother. They return Sylvia home to her grandfather, Doc Banner. Mildred seeks help from her boyfriend, leader of the construction crew working on the nearby dam which has bought up most of the town leaving it deserted.
The cult members’ van breaks down so they elect to remain in the town. They buy pies from Mildred who explains that as most of the town is deserted and awaiting demolition they can stay in any vacant building they wish.
Learning of the assault on Sylvia, Doc confronts the cult but they assault him and force him to take LSD. Pete intervenes and Doc is released.
Pete takes a shotgun to get revenge but encounters a rabid dog which he shoots. He takes blood from the dog and the next morning injects it into meat pies at the bakery, and sells them to the cult members. All but member Andy eat the pies and become rabid. They start attacking one another. A crazed female cult member absconds but is picked up and seduced by the construction workers. She is sent to investigate the cult. She passes rabies to them and they become homicidal maniacs attacking the cult members and the town’s surviving residents.
- Bhaskar Roy Chowdhury as Horace Bones
- Jadin Wong as Sue-Lin
- Rhonda Fultz as Molly
- George Patterson as Rollo
- Riley Mills as Pete Banner
- John Damon as Roger Davis
- Elizabeth Marner-Brooks as Mildred Nash
- Richard Bowler as Doc Banner
- Tyde Kierney as Andy
- Iris Brooks as Sylvia
- Alex Mann as Shelly
Uncredited cast members included Arlene Farber, David Durston, and Lynn Lowry.
Much of the movie was filmed in Sharon Springs, NY. By the time of the production Sharon Springs had largely become a ghost town, and the producers were allowed to use the abandoned hotels as locations. The town is now a center for tourism in upstate New York.
Several scenes needed to be altered to qualify the film for an “R” so the producer distributed the original film asking that each projectionist censor the film as seen fit for their market. There were 280 prints made and countless differently censored versions were in circulation. The prints for the Los Angeles and New York City runs were censored by the film’s director.
A 2002 DVD release presented the original uncensored version along with numerous extras.
|This section does not cite any sources. (October 2015)|
Bob Murawski of Grindhouse Releasing sought out film director David E. Durston and the two collaborated on the official release of I Drink Your Blood for DVD in North America through Murawski’s Box Office Spectaculars distribution company, which continues to hold the worldwide rights to the film.
|This section requires expansion. (December 2015)|
The Encyclopedia of Horror said that “as the film now stands what looks like it might have been a raw, ferocious thriller has become a frustrating exercise in splicing, incessantly building up to scenes of bone-crushing horror and violence which never actually happen.”
Film critic Leonard Maltin gave the film a mixed review, awarding it 2 out of a possible 4 stars. Donald Guarisco from AllMovie gave the film a mixed review, criticizing the film’s thin characterizations, inconsistent acting, and dialogue. However Guarisco also stated that the film manages to overcome its flaws through its delivery of it’s premise, summarizing, “In the end, I Drink Your Blood is too demented and rough-edged for the casual viewer, but it will delight horror fans with a sweet tooth for schlock”. Cavett Binion from The New York Times gave the film a positive review, calling the film “an intense and well made Exploitation item”. The film has gained a cult following over the years and now considered a classic in exploitation film.
On 17 September 2009, it was announced David E. Durston planned a remake of the film that would have starred Sybil Danning. Durston passed away in 2010 at the age of 88 before the project could begin production.
I Eat Your Skin
|I Eat Your Skin|
Poster advertising a double feature of I Drink Your Blood and I Eat Your Skin.
|Directed by||Del Tenney|
|Produced by||Del Tenney|
|Written by||Del Tenney|
|Music by||Lon E. Norman|
|Edited by||Larry Keating|
Del Tenney Productions
|Distributed by||Cinemation Industries|
Writer Tom Harris arrives on a beautiful island in search of material on voodoo legends for his novel. He unfortunately stumbles onto the secret laboratory of a mad scientist who is experimenting on reversing the aging process.
- William Joyce as Tom Harris
- Heather Hewitt as Jeannie Biladeau
- Betty Hyatt Linton as Coral Fairchild
- Dan Stapleton as Duncan Fairchild
- Walter Coy as Charles Bentley
- Robert Stanton as Dr. Biladeau
- Vanoye Aikens
- Matt King
- Rebecca Oliver
- Don Strawn as Leader, Calypso Band
- George-Ann Williamson
The film was not released until six years after it was made. Film distributor Jerry Gross bought it and paired it on a double bill with I Drink Your Blood and renamed it I Eat Your Skin, although the two have nothing in common. Previous titles of the film include Zombie Bloodbath and Voodoo Blood Bath.
In a review of a box set, David Cornelius of DVD Talk wrote, “The film was produced in 1964 but went undistributed for six long years, and one look explains why: it’s an utterly square attempt at early-60s hipness”. Paul Pritchard of DVD Verdict wrote, “This is just the type of cheap crap that sullies the good name of exploitation cinema.” In The Zombie Moving Encyclopedia, academic Peter Dendle wrote, “Nevermind the title—this is as mild as horror gets, and nobody eats any skin.”