Mayhem (film)

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Mayhem (film)

From Wikipedia, the free encyclopedia
Mayhem
Directed by Joe Lynch
Produced by Parisa Caviani
Mehrdad Elie
Buddy Enright
Lawrence Mattis
Matt Smith
Sean Sorensen
Andjelija Vlaisavljevic
Written by Matias Caruso
Starring Steven Yeun
Samara Weaving
Steven Brand
Caroline Chikezie
Kerry Fox
Dallas Roberts
Music by Steve Moore
Cinematography Steve Gainer
Edited by Josh Ethier
Production
companies
Circle of Confusion
Royal Viking Entertainment
Distributed by RLJE Films
Release date
  • November 10, 2017 (2017-11-10)
Running time
86 mins
Country United States
Language English

Mayhem is a 2017 American action horror comedy film directed by Joe Lynch. The film was released at the South by Southwest Film Festival in March 2017 [1] and The Sales art and poster was released at the Cannes Film Festival in May 2017.[2] It will be released in US cinemas and on VOD and digital HD on November 10, 2017, through RLJE Films.[3]

Cast[edit]

  • Steven Yeun as Derek Cho
  • Samara Weaving as Melanie Cross
  • Steven Brand as John Towers ‘The Boss’
  • Caroline Chikezie as The Siren
  • Kerry Fox as Irene Smythe
  • Dallas Roberts as The Reaper
  • Mark Frost as Ewan Niles
  • Claire Dellamar as Meg
  • André Eriksen as The Bull
  • Nikola Kent as Oswald
  • Lucy Chappell as Jenny
  • Olja Hrustic as CDC Official
  • Bojan Peric as Miles
  • Annamaria Serda as Brenda
  • Jovana Prosenik as Dena[4]

Production[edit]

Critical response[edit]

On Rotten Tomatoes, the film has a rating of 81%, based on 43 critics, with an average score of 7.2/10. The site’s critical consensus reads, “Mayhem delivers stylish violence by the bloody bucketful — and grounds all the titular chaos in sharp humor and surprisingly effective real-world economic angst”.[5] On Metacritic, the film has a score of 61 out of 100, based on 11 critics, indicating “generally favorable reviews”.[6]

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BREAKDOWN LANE

Breakdown Lane (Canada, 2017)

‘It’s time to kick some zombie ass!’

Breakdown Lane is a 2017 Canadian zombie action horror film written and directed by Bob Schultz and Robert Conway. It stars Whitney Moore, Aric Cushing and Nicole Zylstra.

When Kirby Lane’s SUV breaks down in the middle of the desert, she must overcome the dehydration, coyotes, and lurking undead to find her way home…

Reviews:

Breakdown Lane definitely blows some new air into the genre, combining zombie and road movie mainstays, some very dark irony and badass action. All of this is held together by a very brisk directorial effort and a very fine lead performance by Whitney Moore, upon whose shoulders it is to carry the film.” Mike Haberfelner, Search My Trash

Main cast:

Whitney Moore, Aric Cushing, Nicole Zylstra, Travis Friesen, Shane Dean, William ‘Bill’ Connor, Owen Conway, Santiago Craig, Monica Engesser, Stephen Tyler Howell, Clint James.

It Stains the Sands Red

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It Stains the Sands Red

From Wikipedia, the free encyclopedia
It Stains the Sands Red
Directed by Colin Minihan
Produced by Brandon Christensen
Bic Tran
Colin Minihan
Stuart Ortiz
Written by Colin Minihan
Stuart Ortiz
Starring Brittany Allen
Music by Blitz//Berlin
Distributed by Dark Sky Films
Running time
92 minutes
Language English

It Stains the Sands Red is a horror film directed by Colin Minihan.

Plot[edit]

During a zombie apocalypse, Las Vegas residents Molly and Nick are on their way to a remote airfield to catch a plane ride out of the country. Their car gets stuck in the sand, and a zombie soon kills Nick. Molly continues across the desert on foot, all the while pursued by the slow-moving but persistent zombie.

Cast[edit]

Production[edit]

Filming took place at Valley of Fire State Park in Nevada.[1]

Release[edit]

The film had its world premiere at the Sitges Film Festival in October 2016. It also screened at the 2017 LA Film Festival.[2]

It began a limited theatrical release on July 28, 2017.

Reception[edit]

Variety gave the film a mixed review, praising Allen’s performance and the resourcefulness of director Minihan, while declaring that it’s “never really scary or funny enough to leave a memorable impression.”[3] A mostly positive review in LA Weekly indicated that “what could have been a wordless slog is inventive and even buoyant.”[4]

THE MASTER OF ZOMBIES GEORGE ROMERO HAS LEFT US

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GEORGE A. ROMERO

From Wikipedia, the free encyclopedia
George A. Romero
George Romero, 66ème Festival de Venise (Mostra).jpg

Romero in Venice, 2011
Born George Andrew Romero
(1940-02-04)February 4, 1940
The Bronx, New York, U.S.
Died July 16, 2017(2017-07-16) (aged 77)
Toronto, Ontario, Canada
Cause of death Lung cancer
Other names Godfather of the Dead
Father of the Zombie Film
Alma mater Carnegie Mellon University
Occupation Film director, screenwriter, editor
Years active 1960–2017[1]
Spouse(s) Nancy Romero (m. 1971–1978)
Christine Forrest (1980–2010)
Suzanne Desrocher (2011–2017, his death)
Children 3
Website www.homepageofthedead.com

George Andrew Romero (/rəˈmɛr/; February 4, 1940 – July 16, 2017) was an American-Canadian filmmaker, writer and editor, best known for his series of gruesome and satirical horror films about an imagined zombie apocalypse, beginning with Night of the Living Dead (1968), which is often considered a progenitor of the fictional zombie of modern culture. Other films in the series include Dawn of the Dead (1978) and Day of the Dead (1985).[2] Aside from the Dead series, his works include The Crazies (1973), Martin (1978), Creepshow (1982), Monkey Shines (1988) and The Dark Half (1993).

Romero is often noted as an influential pioneer of the horror film genre, and has been called an “icon[3] and the “Father of the Zombie Film.”[4]

Early life[edit]

Romero was born in the New York City borough of The Bronx, to a Cuban-born father and a Lithuanian American mother.[5] His father has been reported as born in A Coruña, with his family coming from the Galician town of Neda,[6][7] although Romero once described his father as of Castilian descent.[8] His father worked as a commercial artist.[9] Romero was raised in the Bronx, and would frequently ride the subway into Manhattan to rent film reels to view at his house.[10] Romero attended Carnegie Mellon University in Pittsburgh.

Career[edit]

1960s[edit]

Zombies fron The Night of the Living Dead

After graduating from university in 1960,[11] Romero began his career shooting short films and commercials. One of his early commercial films was a segment for Mister Rogers’ Neighborhood in which Rogers underwent a tonsillectomy.[12] With nine friends, Romero formed Image Ten Productions in the late 1960s, and produced Night of the Living Dead (1968). Directed by Romero and co-written with John A. Russo, the movie became a defining moment for modern horror cinema.

Among the inspiration for Romero’s filmmaking, as told to Robert K. Elder in an interview for The Film That Changed My Life,[13] was the British film, The Tales of Hoffmann (1951) from the Powell and Pressburger team.

1970s–1980s[edit]

Three films that followed were less popular: There’s Always Vanilla (1971), Jack’s Wife / Season of the Witch (1972) and The Crazies (1973) were not as well received as Night of the Living Dead or some of his later work. The Crazies, dealing with a bio spill that induces an epidemic of homicidal madness, and the critically acclaimed arthouse success Martin (1978), a film that deals with the vampire myth, were the two well-known films from this period. Like many of his films, they were shot in or around Pittsburgh.

Romero returned to the zombie genre with Dawn of the Dead (1978). Shot on a budget of $500,000, the film earned over $55 million internationally and was named one of the top cult films by Entertainment Weekly in 2003. Romero made the third entry in his “Dead Series” with Day of the Dead (1985).

Between these two films, Romero shot Knightriders (1981), another festival favorite about a group of modern-day jousters who reenact tournaments on motorcycles, and the successful Creepshow (1982), written by Stephen King, an anthology of tongue-in-cheek tales modeled after 1950s horror comics.

1990s[edit]

From the latter half of the 1980s and into the 1990s came Monkey Shines (1988), about a killer helper monkey; Two Evil Eyes (a.k.a. “Due occhi Diabolici”, 1990), an Edgar Allan Poe adaptation in collaboration with Dario Argento; The Dark Half (1993) written by Stephen King; and Bruiser (2000), about a man whose face becomes a blank mask.

Romero updated his original screenplay and executive produced the remake of Night of the Living Dead (1990) directed by Tom Savini for Columbia/TriStar. Savini is also responsible for the makeup and special effects in many of Romero’s films including Dawn of the Dead, Day of the Dead, Creepshow, and Monkey Shines. Romero had a cameo appearance in Jonathan Demme‘s Academy Award-winning The Silence of the Lambs (1991) as one of Hannibal Lecter’s jailers.

Romero attending a horror convention, 2005

In 1998, he directed a live-action commercial promoting the videogame Resident Evil 2 in Tokyo. The 30-second advertisement featured the game’s two main characters, Leon S. Kennedy and Claire Redfield, fighting a horde of zombies while in Raccoon City‘s police station. The project was obvious territory for Romero; the Resident Evil series has been heavily influenced by the “Dead Series”. The commercial was rather popular and was shown in the weeks before the game’s actual release, although a contract dispute prevented it from being shown outside Japan. Capcom was so impressed with Romero’s work, it was strongly indicated that Romero would direct the first Resident Evil film. He declined at first — “I don’t wanna make another film with zombies in it, and I couldn’t make a movie based on something that ain’t mine”[citation needed] — although in later years, he reconsidered and wrote a script for the first movie. It was eventually rejected in favor of Paul W. S. Anderson‘s version.

2000s[edit]

Universal Studios produced and released a remake of Dawn of the Dead (2004), with which Romero was not involved. Later that year, Romero kicked off the DC Comics title Toe Tags with a six-issue miniseries titled The Death of Death. Based on an unused script that Romero had previously written for his “Dead Series”, the comic miniseries concerns Damien, an intelligent zombie who remembers his former life, struggling to find his identity as he battles armies of both the living and the dead. Typical of a Romero zombie tale, the miniseries includes ample supply of both gore and social commentary (dealing particularly here with corporate greed and terrorism — ideas he would also explore in his next film in the series, Land of the Dead). Romero has stated that the miniseries is set in the same kind of world as his Dead films, but featured other locales besides Pittsburgh, where the majority of his films take place.[citation needed]

Romero, who lived in Toronto, directed a fourth Dead movie in that city, Land of the Dead (2005). The movie’s working title was “Dead Reckoning”. Its $16 million production budget was the highest of the four movies in the series. Actors Simon Baker, Dennis Hopper, Asia Argento, and John Leguizamo starred, and the film was released by Universal Pictures (who released the Dawn of the Dead remake the year before). The film received generally positive reviews.

Some critics have seen social commentary in much of Romero’s work. They view Night of the Living Dead as a film made in reaction to the turbulent 1960s, Dawn of the Dead as a satire on consumerism, Day of the Dead as a study of the conflict between science and the military, and Land of the Dead as an examination of class conflict.

Romero collaborated with the game company Hip Interactive to create a game called City of the Dead, but the project was canceled midway due to the financial problems of the company.

In June 2006, Romero began his next project, called Zombisodes. Broadcast on the Web, they are a combination of a series of “Making of” shorts and story expansion detailing the work behind the film George A. Romero’s Diary of the Dead (2007). Shooting began in Toronto in July 2006.[15]

In August 2006, The Hollywood Reporter made two announcements about Romero, the first being that he would write and direct a film based on a short story by Koji Suzuki, author of Ring and Dark Water, called Solitary Isle[16][17] and the second announcement pertaining to his signing on to write and direct George A. Romero’s Diary of the Dead, which follows a group of college students filming a horror movie who proceed to film the events that follow when the dead rise.[18][19] The film was independently financed, making it the first indie zombie film Romero has made in years.

After a limited theatrical release, Diary of the Dead was released on DVD by Dimension Extreme on May 20, 2008, and later to Blu-ray Disc on October 21, 2008.

Shooting began in Toronto in September 2008 on Romero’s Survival of the Dead (2009). The film was initially reported to be a direct sequel to Diary of the Dead, but the film features only Alan van Sprang, who appeared briefly as a rogue National Guard officer, reprising his role from the previous film, and did not retain the first-person camerawork of Diary of the Dead. The film centers on two feuding families taking very different approaches in dealing with the living dead on a small coastal island. The film premiered at the 2009 Toronto International Film Festival. Prior to the May 28, 2010, theatrical release in the United States, Survival of the Dead was made available to video on demand and was aired as a special one night showing on May 26, 2010, on HDNet.

Romero made an appearance in the second downloadable map pack called “Escalation” for the video game Call of Duty: Black Ops. He appears as himself in the zombies map “Call of the Dead” as a non-playable enemy character. Romero is featured alongside actors Sarah Michelle Gellar, Danny Trejo, Michael Rooker, and Robert Englund, all of the four being playable characters. He is portrayed as a powerful “boss” zombie armed with a movie studio light.

2010s[edit]

Romero in May 2016

In 2010, Romero was contacted by Claudio Argento to direct a 3D remake of the Dario Argento film, Deep Red (1975). Claudio was expected to write the screenplay and told Romero that his brother Dario would also be involved. Romero, who showed interest in the project, decided to contact his longtime friend Dario only to find out that Dario was unaware of a remake and Romero ended up declining Claudio’s offer. Romero stated that he had plans for two more “Dead” movies which would be connected to Diary of the Dead and they would be made depending on how successful Survival of the Dead was. Romero, however, said that his next project would not involve zombies and he was going for the scare factor, but offered no further details.[20]

In 2012, Romero returned to video games recording his voice for “Zombie Squash” as the lead villain, Dr. B. E. Vil.[21] “Zombie Squash HD Free” game was released by ACW Games for the iPad in November 2012.[22]

In 2014, Marvel Comics began releasing Empire of the Dead, a 15-issue miniseries written by Romero. The series, which is broken up into three five-issues acts, features not only zombies but also vampires.[23] In May 2015, it was announced at Cannes that the production company Demarest was developing the comic series in to a TV series. The series will be written and executive produced by Romero and Peter Grunwald.[24]

In May 2017, Romero announced plans for George A. Romero Presents: Road of the Dead, a film that he co-wrote with Matt Birman, who would direct the film making it Romero’s first zombie related film that he did not direct himself. Romero and Birman along with Matt Manjourides and Justin Martell will produce the film. Birman was the second unit director on Land of the Dead, Diary of the Dead and Survival of the Dead. Birman pitched the idea to Romero ten years earlier, saying the movie is like The Road Warrior meets Rollerball at a NASCAR race, with significant inspiration from Ben-Hur and that “the story is set on an island where zombie prisoners race cars in a modern-day Coliseum for the entertainment of wealthy humans”.[25]

On July 13, 2017, Romero released the first poster for Road of the Dead and discussed the plot for the movie saying “it’s set in a sanctuary city where this fat cat runs a haven for rich folks, and one of the things that he does is stage drag races to entertain them,” Romero told Rue Morgue. “There’s a scientist there doing genetic experiments, trying to make the zombies stop eating us, and he has discovered that with a little tampering, they can recall certain memory skills that enable them to drive in these races. It’s really The Fast and the Furious with zombies”. Romero died three days later, and the status of the film is currently unknown.[26]

Personal life[edit]

Romero married Christine Forrest, whom he met on the set of Season of the Witch (1973). They had two children together, Andrew and Tina Romero; the couple later divorced. Romero met Suzanne Desrocher while filming Land of the Dead (2005). They married in September 2011 at Martha’s Vineyard[27] and lived in Toronto. He took up Canadian citizenship in 2009, becoming a dual Canada-U.S. citizen.[28] His son Cameron, is a filmmaker,[29] responsible for the film Origins (2015),[30] which is the prequel to Night of the Living Dead.

Death[edit]

On July 16, 2017, Romero died in his sleep following a “brief but aggressive battle with lung cancer“, according to a statement by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one of his favorite films, The Quiet Man, with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side.[31]

Influences[edit]

Romero ranked his top ten films of all time for the 2002 Sight & Sound Greatest Films Poll. They are The Brothers Karamazov, Casablanca, Dr. Strangelove, High Noon, King Solomon’s Mines, North by Northwest (a film on which a teenaged Romero worked as a gofer), The Quiet Man, Repulsion, Touch of Evil and The Tales of Hoffmann. Romero listed the films in alphabetical order, with special placement given to Michael Powell‘s The Tales of Hoffman, which he cites as “my favourite film of all time; the movie that made me want to make movies.”[32]

Romero has also cited Herk Harvey‘s Carnival of Souls (1962) as an influence on his work.[33]

Filmography[edit]

Awards and nominations[edit]

On October 27, 2009, Romero was honored with the Mastermind Award at Spike TV’s Scream 2009. The tribute was presented by longtime Romero fan Quentin Tarantino, who stated in his speech that the “A” in George A. Romero stood for “A fucking genius.”

Legacy[edit]

In 2010, writer and actor Mark Gatiss interviewed Romero for his BBC documentary series A History of Horror, in which he appears in the third episode.[34]

Regarded as the “Godfather of the Dead”[35] and the “father of the modern movie zombie”,[36] Romero’s influence, and that of Night of the Living Dead, is widely seen among numerous filmmakers and artists, in particular those who have worked in the zombie subgenre,[37] including comics writer Robert Kirkman,[36] novelist Seth Grahame-Smith,[38] and filmmakers John Carpenter,[39][40] Edgar Wright[41] and Jack Thomas Smith.[42]

Books[edit]

  1. Dawn of the Dead (with Susan Sparrow; movie tie-in), 1979.
  2. Bizarro! by Tom Savini (foreword), 1984.
  3. Martin (with Susan Sparrow; movie tie-in), 1984.
  4. Book of the Dead edited by John Skipp and Craig Spector (foreword), 1989.
  5. Toe Tags #1-6 (“The Death of Death”; DC Comics), 2004–2005.
  6. ZOMBIES! An Illustrated History of the Undead Foreword by George A. Romero.
  7. The Extraordinary Adventures of Dog mendonça and Pizzaboy – Apocalypse by Filipe Melo and Juan Cavia (foreword), 2011.
  8. Empire of the Dead (Marvel Comics), 2014–2015.
  9. Nights of the Living Dead co-edited by Jonathan Maberry and George Romero (St. Martin’s Griffin), 2017[43].

Critical studies[edit]

  • Dupuis, Joachim Daniel (2014), George A. Romero and the zombies, Autopsy of a living-dead. Paris: L’Harmattan (in French).
  • Gagne, Paul R. (1987). The Zombies That Ate Pittsburgh: the Films of George A. Romero. New York: Dodd, Mead. 
  • Newman, Kim (1988). Nightmare Movies: A Critical History of the Horror Film 1968–1988. 
  • Williams, Tony (2003). Knight of the Living Dead: The Cinema of George A. Romero. London: Wallflower Press. 
  • Moreman, Christopher M. (2008). “A modern meditation on death: identifying buddhist teachings in George A. Romero’s Night of the Living Dead“. Contemporary Buddhism. 9 (2): 151–165. doi:10.1080/14639940802556461.

    George A. Romero

    From Wikipedia, the free encyclopedia
    Jump to: navigation, search
    George A. Romero
    George Romero, 66ème Festival de Venise (Mostra).jpg

    Romero in Venice, 2011
    Born George Andrew Romero
    (1940-02-04)February 4, 1940
    The Bronx, New York, U.S.
    Died July 16, 2017(2017-07-16) (aged 77)
    Toronto, Ontario, Canada
    Cause of death Lung cancer
    Other names Godfather of the Dead
    Father of the Zombie Film
    Alma mater Carnegie Mellon University
    Occupation Film director, screenwriter, editor
    Years active 1960–2017[1]
    Spouse(s) Nancy Romero (m. 1971–1978)
    Christine Forrest (1980–2010)
    Suzanne Desrocher (2011–2017, his death)
    Children 3
    Website www.homepageofthedead.com

    George Andrew Romero (/rəˈmɛr/; February 4, 1940 – July 16, 2017) was an American-Canadian filmmaker, writer and editor, best known for his series of gruesome and satirical horror films about an imagined zombie apocalypse, beginning with Night of the Living Dead (1968), which is often considered a progenitor of the fictional zombie of modern culture. Other films in the series include Dawn of the Dead (1978) and Day of the Dead (1985).[2] Aside from the Dead series, his works include The Crazies (1973), Martin (1978), Creepshow (1982), Monkey Shines (1988) and The Dark Half (1993).

    Romero is often noted as an influential pioneer of the horror film genre, and has been called an “icon[3] and the “Father of the Zombie Film.”[4]

    Early life[edit]

    Romero was born in the New York City borough of The Bronx, to a Cuban-born father and a Lithuanian American mother.[5] His father has been reported as born in A Coruña, with his family coming from the Galician town of Neda,[6][7] although Romero once described his father as of Castilian descent.[8] His father worked as a commercial artist.[9] Romero was raised in the Bronx, and would frequently ride the subway into Manhattan to rent film reels to view at his house.[10] Romero attended Carnegie Mellon University in Pittsburgh.

    Career[edit]

    1960s[edit]

    Zombies fron The Night of the Living Dead

    After graduating from university in 1960,[11] Romero began his career shooting short films and commercials. One of his early commercial films was a segment for Mister Rogers’ Neighborhood in which Rogers underwent a tonsillectomy.[12] With nine friends, Romero formed Image Ten Productions in the late 1960s, and produced Night of the Living Dead (1968). Directed by Romero and co-written with John A. Russo, the movie became a defining moment for modern horror cinema.

    Among the inspiration for Romero’s filmmaking, as told to Robert K. Elder in an interview for The Film That Changed My Life,[13] was the British film, The Tales of Hoffmann (1951) from the Powell and Pressburger team.

    1970s–1980s[edit]

    Three films that followed were less popular: There’s Always Vanilla (1971), Jack’s Wife / Season of the Witch (1972) and The Crazies (1973) were not as well received as Night of the Living Dead or some of his later work. The Crazies, dealing with a bio spill that induces an epidemic of homicidal madness, and the critically acclaimed arthouse success Martin (1978), a film that deals with the vampire myth, were the two well-known films from this period. Like many of his films, they were shot in or around Pittsburgh.

    Romero returned to the zombie genre with Dawn of the Dead (1978). Shot on a budget of $500,000, the film earned over $55 million internationally and was named one of the top cult films by Entertainment Weekly in 2003. Romero made the third entry in his “Dead Series” with Day of the Dead (1985).

    Between these two films, Romero shot Knightriders (1981), another festival favorite about a group of modern-day jousters who reenact tournaments on motorcycles, and the successful Creepshow (1982), written by Stephen King, an anthology of tongue-in-cheek tales modeled after 1950s horror comics.

    1990s[edit]

    From the latter half of the 1980s and into the 1990s came Monkey Shines (1988), about a killer helper monkey; Two Evil Eyes (a.k.a. “Due occhi Diabolici”, 1990), an Edgar Allan Poe adaptation in collaboration with Dario Argento; The Dark Half (1993) written by Stephen King; and Bruiser (2000), about a man whose face becomes a blank mask.

    Romero updated his original screenplay and executive produced the remake of Night of the Living Dead (1990) directed by Tom Savini for Columbia/TriStar. Savini is also responsible for the makeup and special effects in many of Romero’s films including Dawn of the Dead, Day of the Dead, Creepshow, and Monkey Shines. Romero had a cameo appearance in Jonathan Demme‘s Academy Award-winning The Silence of the Lambs (1991) as one of Hannibal Lecter’s jailers.

    Romero attending a horror convention, 2005

    In 1998, he directed a live-action commercial promoting the videogame Resident Evil 2 in Tokyo. The 30-second advertisement featured the game’s two main characters, Leon S. Kennedy and Claire Redfield, fighting a horde of zombies while in Raccoon City‘s police station. The project was obvious territory for Romero; the Resident Evil series has been heavily influenced by the “Dead Series”. The commercial was rather popular and was shown in the weeks before the game’s actual release, although a contract dispute prevented it from being shown outside Japan. Capcom was so impressed with Romero’s work, it was strongly indicated that Romero would direct the first Resident Evil film. He declined at first — “I don’t wanna make another film with zombies in it, and I couldn’t make a movie based on something that ain’t mine”[citation needed] — although in later years, he reconsidered and wrote a script for the first movie. It was eventually rejected in favor of Paul W. S. Anderson‘s version.

    2000s[edit]

    Universal Studios produced and released a remake of Dawn of the Dead (2004), with which Romero was not involved. Later that year, Romero kicked off the DC Comics title Toe Tags with a six-issue miniseries titled The Death of Death. Based on an unused script that Romero had previously written for his “Dead Series”, the comic miniseries concerns Damien, an intelligent zombie who remembers his former life, struggling to find his identity as he battles armies of both the living and the dead. Typical of a Romero zombie tale, the miniseries includes ample supply of both gore and social commentary (dealing particularly here with corporate greed and terrorism — ideas he would also explore in his next film in the series, Land of the Dead). Romero has stated that the miniseries is set in the same kind of world as his Dead films, but featured other locales besides Pittsburgh, where the majority of his films take place.[citation needed]

    Romero, who lived in Toronto, directed a fourth Dead movie in that city, Land of the Dead (2005). The movie’s working title was “Dead Reckoning”. Its $16 million production budget was the highest of the four movies in the series. Actors Simon Baker, Dennis Hopper, Asia Argento, and John Leguizamo starred, and the film was released by Universal Pictures (who released the Dawn of the Dead remake the year before). The film received generally positive reviews.

    Some critics have seen social commentary in much of Romero’s work. They view Night of the Living Dead as a film made in reaction to the turbulent 1960s, Dawn of the Dead as a satire on consumerism, Day of the Dead as a study of the conflict between science and the military, and Land of the Dead as an examination of class conflict.

    Romero collaborated with the game company Hip Interactive to create a game called City of the Dead, but the project was canceled midway due to the financial problems of the company.

    In June 2006, Romero began his next project, called Zombisodes. Broadcast on the Web, they are a combination of a series of “Making of” shorts and story expansion detailing the work behind the film George A. Romero’s Diary of the Dead (2007). Shooting began in Toronto in July 2006.[15]

    In August 2006, The Hollywood Reporter made two announcements about Romero, the first being that he would write and direct a film based on a short story by Koji Suzuki, author of Ring and Dark Water, called Solitary Isle[16][17] and the second announcement pertaining to his signing on to write and direct George A. Romero’s Diary of the Dead, which follows a group of college students filming a horror movie who proceed to film the events that follow when the dead rise.[18][19] The film was independently financed, making it the first indie zombie film Romero has made in years.

    After a limited theatrical release, Diary of the Dead was released on DVD by Dimension Extreme on May 20, 2008, and later to Blu-ray Disc on October 21, 2008.

    Shooting began in Toronto in September 2008 on Romero’s Survival of the Dead (2009). The film was initially reported to be a direct sequel to Diary of the Dead, but the film features only Alan van Sprang, who appeared briefly as a rogue National Guard officer, reprising his role from the previous film, and did not retain the first-person camerawork of Diary of the Dead. The film centers on two feuding families taking very different approaches in dealing with the living dead on a small coastal island. The film premiered at the 2009 Toronto International Film Festival. Prior to the May 28, 2010, theatrical release in the United States, Survival of the Dead was made available to video on demand and was aired as a special one night showing on May 26, 2010, on HDNet.

    Romero made an appearance in the second downloadable map pack called “Escalation” for the video game Call of Duty: Black Ops. He appears as himself in the zombies map “Call of the Dead” as a non-playable enemy character. Romero is featured alongside actors Sarah Michelle Gellar, Danny Trejo, Michael Rooker, and Robert Englund, all of the four being playable characters. He is portrayed as a powerful “boss” zombie armed with a movie studio light.

    2010s[edit]

    Romero in May 2016

    In 2010, Romero was contacted by Claudio Argento to direct a 3D remake of the Dario Argento film, Deep Red (1975). Claudio was expected to write the screenplay and told Romero that his brother Dario would also be involved. Romero, who showed interest in the project, decided to contact his longtime friend Dario only to find out that Dario was unaware of a remake and Romero ended up declining Claudio’s offer. Romero stated that he had plans for two more “Dead” movies which would be connected to Diary of the Dead and they would be made depending on how successful Survival of the Dead was. Romero, however, said that his next project would not involve zombies and he was going for the scare factor, but offered no further details.[20]

    In 2012, Romero returned to video games recording his voice for “Zombie Squash” as the lead villain, Dr. B. E. Vil.[21] “Zombie Squash HD Free” game was released by ACW Games for the iPad in November 2012.[22]

    In 2014, Marvel Comics began releasing Empire of the Dead, a 15-issue miniseries written by Romero. The series, which is broken up into three five-issues acts, features not only zombies but also vampires.[23] In May 2015, it was announced at Cannes that the production company Demarest was developing the comic series in to a TV series. The series will be written and executive produced by Romero and Peter Grunwald.[24]

    In May 2017, Romero announced plans for George A. Romero Presents: Road of the Dead, a film that he co-wrote with Matt Birman, who would direct the film making it Romero’s first zombie related film that he did not direct himself. Romero and Birman along with Matt Manjourides and Justin Martell will produce the film. Birman was the second unit director on Land of the Dead, Diary of the Dead and Survival of the Dead. Birman pitched the idea to Romero ten years earlier, saying the movie is like The Road Warrior meets Rollerball at a NASCAR race, with significant inspiration from Ben-Hur and that “the story is set on an island where zombie prisoners race cars in a modern-day Coliseum for the entertainment of wealthy humans”.[25]

    On July 13, 2017, Romero released the first poster for Road of the Dead and discussed the plot for the movie saying “it’s set in a sanctuary city where this fat cat runs a haven for rich folks, and one of the things that he does is stage drag races to entertain them,” Romero told Rue Morgue. “There’s a scientist there doing genetic experiments, trying to make the zombies stop eating us, and he has discovered that with a little tampering, they can recall certain memory skills that enable them to drive in these races. It’s really The Fast and the Furious with zombies”. Romero died three days later, and the status of the film is currently unknown.[26]

    Personal life[edit]

    Romero married Christine Forrest, whom he met on the set of Season of the Witch (1973). They had two children together, Andrew and Tina Romero; the couple later divorced. Romero met Suzanne Desrocher while filming Land of the Dead (2005). They married in September 2011 at Martha’s Vineyard[27] and lived in Toronto. He took up Canadian citizenship in 2009, becoming a dual Canada-U.S. citizen.[28] His son Cameron, is a filmmaker,[29] responsible for the film Origins (2015),[30] which is the prequel to Night of the Living Dead.

    Death[edit]

    On July 16, 2017, Romero died in his sleep following a “brief but aggressive battle with lung cancer“, according to a statement by his longtime producing partner, Peter Grunwald. Romero died while listening to the score of one of his favorite films, The Quiet Man, with his wife, Suzanne Desrocher Romero, and daughter, Tina Romero, at his side.[31]

    Influences[edit]

    Romero ranked his top ten films of all time for the 2002 Sight & Sound Greatest Films Poll. They are The Brothers Karamazov, Casablanca, Dr. Strangelove, High Noon, King Solomon’s Mines, North by Northwest (a film on which a teenaged Romero worked as a gofer), The Quiet Man, Repulsion, Touch of Evil and The Tales of Hoffmann. Romero listed the films in alphabetical order, with special placement given to Michael Powell‘s The Tales of Hoffman, which he cites as “my favourite film of all time; the movie that made me want to make movies.”[32]

    Romero has also cited Herk Harvey‘s Carnival of Souls (1962) as an influence on his work.[33]

    Filmography[edit]

    Awards and nominations[edit]

    On October 27, 2009, Romero was honored with the Mastermind Award at Spike TV’s Scream 2009. The tribute was presented by longtime Romero fan Quentin Tarantino, who stated in his speech that the “A” in George A. Romero stood for “A fucking genius.”

    Legacy[edit]

    In 2010, writer and actor Mark Gatiss interviewed Romero for his BBC documentary series A History of Horror, in which he appears in the third episode.[34]

    Regarded as the “Godfather of the Dead”[35] and the “father of the modern movie zombie”,[36] Romero’s influence, and that of Night of the Living Dead, is widely seen among numerous filmmakers and artists, in particular those who have worked in the zombie subgenre,[37] including comics writer Robert Kirkman,[36] novelist Seth Grahame-Smith,[38] and filmmakers John Carpenter,[39][40] Edgar Wright[41] and Jack Thomas Smith.[42]

    Books[edit]

    1. Dawn of the Dead (with Susan Sparrow; movie tie-in), 1979.
    2. Bizarro! by Tom Savini (foreword), 1984.
    3. Martin (with Susan Sparrow; movie tie-in), 1984.
    4. Book of the Dead edited by John Skipp and Craig Spector (foreword), 1989.
    5. Toe Tags #1-6 (“The Death of Death”; DC Comics), 2004–2005.
    6. ZOMBIES! An Illustrated History of the Undead Foreword by George A. Romero.
    7. The Extraordinary Adventures of Dog mendonça and Pizzaboy – Apocalypse by Filipe Melo and Juan Cavia (foreword), 2011.
    8. Empire of the Dead (Marvel Comics), 2014–2015.
    9. Nights of the Living Dead co-edited by Jonathan Maberry and George Romero (St. Martin’s Griffin), 2017[43].

    Critical studies[edit]

    • Dupuis, Joachim Daniel (2014), George A. Romero and the zombies, Autopsy of a living-dead. Paris: L’Harmattan (in French).
    • Gagne, Paul R. (1987). The Zombies That Ate Pittsburgh: the Films of George A. Romero. New York: Dodd, Mead. 
    • Newman, Kim (1988). Nightmare Movies: A Critical History of the Horror Film 1968–1988. 
    • Williams, Tony (2003). Knight of the Living Dead: The Cinema of George A. Romero. London: Wallflower Press. 
    • Moreman, Christopher M. (2008). “A modern meditation on death: identifying buddhist teachings in George A. Romero’s Night of the Living Dead“. Contemporary Buddhism. 9 (2): 151–165. doi:10.1080/14639940802556461.

Night of the Living Dead (film series)

 

Night of the Living Dead (film series)

From Wikipedia, the free encyclopedia
George A. Romero’s Dead series
Night of the Living Dead (1968) theatrical poster.jpg

The original poster for Night of the Living Dead
Directed by George A. Romero (1–6)
Cameron Romero (7)
Produced by Night of the Living Dead
Karl Hardman
Russell Streiner
Dawn of the Dead
Richard P. Rubinstein
Day of the Dead
Richard P. Rubinstein
Land of the Dead
Mark Canton
Bernie Goldmann
Peter Grunwald
Diary of the Dead
Peter Grunwald
Sam Englebardt
Artur Spigel
Ara Katz
Survival of the Dead
Paula Devonshire
Screenplay by George A. Romero (1-6) Cameron Romero (7)
Distributed by The Walter Reade Organization (1)
United Film Distribution Company (2-3)
Universal Pictures (4)
The Weinstein Company (5)
Magnet Releasing (6)
Release date
1968-present
Country United States
Language English

Night of the Living Dead is a series of seven zombie horror films written and directed by George A. Romero and Cameron Romero beginning with the 1968 film Night of the Living Dead written by Romero and John A. Russo. The loosely connected franchise predominantly centers on different groups of people attempting to survive during the outbreak and evolution of a zombie apocalypse. The latest installment of the series, Survival of the Dead, was released in 2009, with Origins, a prequel film written and directed by Cameron Romero in the works.[1]

History[edit]

After Night of the Living Dead’s initial success, the two creators split in disagreement regarding where the series should head,[2] and since the film was in the public domain,[3] each were able to do what they liked with the continuity of their projects. Romero went on to direct five additional Dead films, while Russo branched into literary territory, writing Return of the Living Dead, which was later loosely adapted into a film of the same name and have its own franchise, and Escape of the Living Dead.

Labeled “Trilogy of the Dead” until Land of the Dead,[4] each film is laden with social commentary on topics ranging from racism to consumerism. The films are not produced as direct follow-ups from one another and their only continuation is the theme of the epidemic of the living dead. This situation advances with each film, showing the world in a worsening state, but each film is independent of its predecessor. This is exemplified by the fact that each movie is set within the era it is filmed, with Land of the Dead being set in modern times with current (as of 2005) technology such as game consoles, flatscreen televisions, cell phones and other examples of modern tech. This would not have been possible if the original 1968 epidemic had progressed to the state that Dawn and Day had depicted, as no new technology would have been created. The fifth film does not continue the depiction of progress, but returns to the similar events depicted in the first film in the very beginning of a zombie outbreak. The films depict how different people react to the same phenomenon, ranging from citizens to police to army officials and to citizens again. Each takes place in a world worsened since its previous appearance, the number of zombies ever increasing and the living perpetually endangered, but with each entry being a standalone film that is not directly continuing global events from the previous.

Romero does not consider any of his Dead films sequels since none of the major characters or story continue from one film to the next.[citation needed] The two exceptions are Tom Savini’s character of Blades who becomes a zombie in Dawn of the Dead who would be seen again years later in Land of the Dead and the military officer (Alan van Sprang) who robs the main characters in Diary of the Dead goes on to become a protagonist in Survival of the Dead.

Films[edit]

Night of the Living Dead (1968)[edit]

The plot of the film follows Ben Huss (Duane Jones), Barbra (Judith O’Dea), and five others, who are trapped in a rural farmhouse in Pennsylvania and attempt to survive the night while the house is being attacked by mysteriously reanimated corpses, known as ghouls or zombies.

Dawn of the Dead (1978)[edit]

Following the scenario set up in Night of the Living Dead, the United States (and possibly the entire world) has been devastated by a phenomenon which reanimates recently deceased human beings as flesh-eating zombies. Despite efforts by the US Government and local civil authorities to control the situation, society has effectively collapsed and the remaining survivors seek refuge. Protagonists Roger (Scott Reiniger) and Peter (Ken Foree), two former SWAT members, join with Stephen (David Emge) and Francine (Gaylen Ross), a helicopter pilot and his girlfriend planning on leaving the city, and take refuge in an enclosed shopping-mall, only to be destroyed when a motorcycle gang allow the zombies into the building.

Day of the Dead (1985)[edit]

Some time after the events of Dawn of the Dead, zombies have overrun the world, and an underground army missile bunker near the Everglades holds part of a military-supported scientific team assigned to study the zombie phenomenon in the hopes of finding a way of stopping or reversing the process. Dwindling supplies, loss of communication with other survivor enclaves, and an apparent lack of progress in the experiments have already caused loss of cohesion among the scientists and soldiers. Dr. Logan (Richard Liberty), the lead scientist on the project, has been secretly using the recently deceased soldiers in his experiments, trying to prove his theory that the zombies can eventually be domesticated.

Land of the Dead (2005)[edit]

Main article: Land of the Dead

Years after the events of the previous film, many of the living have fled to Pittsburgh, Pennsylvania, where a feudal-like government has taken hold. Paul Kaufman (Dennis Hopper) rules the city with overwhelming firepower. “Big Daddy” (Eugene Clark), an unusually intelligent zombie, directs his fellow zombies to use firearms against the human defenses, and later leads the zombies in an assault on the human city, with the result that the electric fence that kept the zombies out now keeps the humans trapped inside.

Diary of the Dead (2007)[edit]

Main article: Diary of the Dead

Taking place during the initial outbreak of the zombie pandemic, Diary of the Dead follows a band of students, making a horror film, who decide to record the events in documentary-style and are themselves chased down by zombies.

Survival of the Dead (2009)[edit]

Main article: Survival of the Dead

The film follows the actions of former Colonel and current Sergeant “Nicotine” Crockett (Alan van Sprang), who, after a failed raid, deserts his post with Kenny (Eric Woolfe), Francisco (Stefano Colacitti) and Tomboy (Athena Karkanis) and find the existence of an island run by two families.

Origins[edit]

A prequel story set at the height of the Cold War is in production, written and directed by G. Cameron Romero, George A. Romero’s son.[1]

Cast[edit]

List indicator(s)

  • A dark grey cell indicates that the character was not in the film or that the character’s presence in the film has yet to be announced.
  • A Y indicates a role as a younger version of the character.
  • An O indicates a role as an older version of the character.
  • A U indicates an uncredited role.
  • A C indicates a cameo role.
  • A V indicates a voice-only role.
  • An A indicates an appearance through archival footage or stills.
Character Film
Night of the
Living Dead

(1968)
Dawn of
the Dead

(1978)
Day of
the Dead

(1985)
Land of
the Dead

(2005)
Diary of
the Dead

(2008)
Survival of
the Dead

(2009)
Ben Duane Jones
Barbra Blair Judith O’Dea
Harry Cooper Karl Hardman
Helen Cooper Marilyn Eastman
Tom Keith Wayne
Judy Judith Ridley
Karen Cooper Kyra Schon
Living Newscaster
Undead Newscaster
Charles Craig Charles CraigVC
Cemetery Living Dead Bill Hinzman
Sheriff McClelland George Kosana
Johnny Blair Russell Streiner
Johnny Blair Russell Streiner
WIIC-TV, Channel 11 News Reporter Bill Cardille
“Chilly Billy Cardilly”
C
Stephen “Flyboy” Andrews David Emge
Peter Washington Ken Foree
Roger “Trooper” DeMarco Scott Reiniger
Francine Parker Gaylen Ross
Dr. James Foster Dave Crawford
Mr. Sidney Berman David Early
Dr. Millard Rausch, Scientist Richard France
TV Commentator Howard Smith
Mr. Dan Givens Daniel Dietrich
Police Commander Fred Baker
Wooley, Maniacal SWAT Cop Jim Baffico
Rod Tucker, Young SWAT Cop On Roof Rod Stoufer
Old Priest Jese del Gre
Head Officer at Police Dock Joe Pilato
Blades, Assistant Head Biker
Mechanic Zombie Shot Through Glass
Zombie Hit By Truck
Tom Savini
Sledge, Biker with Sledgehammer
Fountain Zombie
Sailor Zombie
Chestburst Zombie
Taso Stavrakis
Dr. Sarah Bowman Lori Cardille
Captain Henry Rhodes Joseph Pilato
John Terry Alexander
William “Bill” McDermott Jarlath Conroy
Pvt. Miguel Salazar Anthony Dileo Jr.
Dr. Matthew “Frankenstein” Logan Richard Liberty
Bub the Zombie (credited as “Howard Sherman”) Sherman Howard
Dr. Ted Fisher, Technician John Amplas
Pvt. Walter Steele, Rhodes’ 2nd In-Command Gary Howard Klar
Pvt. Robert Rickles, Steele’s Sidekick Ralph Marrero
Pvt. Miller, Rhodes’ Men Phillip G. Kellams
Pvt. Juan Torrez, Rhodes’ Men
Knock-On-Wood Zombie
Biker Zombie
Taso N. Stavrakis
Pvt. Johnson, Rhodes’ Men Gregory Nicotero
The Balladeer Sputzy SparacinoV
The 2nd Balladeer DelilahV
The Balladeers’ Lead Guitarist Buddy HallV
The Balladeers’ Bassist Tommy BellinV
The Balladeers’ Keyboardist Talmadge PearsallV
The Balladeers’ Co-Keyboardist Jim BlazerV
Riley Denbo Simon Baker
Cholo DeMora John Leguizamo
Paul Kaufman Dennis Hopper
Slack Asia Argento
Charlie Houk Robert Joy
Big Daddy Zombie Eugene Clark
Pretty Boy Joanne Boland
Foxy Tony Nappo
Number 9 Zombie Jennifer Baxter
Butcher Zombie Boyd Banks
Tambourine Man Zombie Jasmin Geljo
Mouse Maxwell McCabe-Lokos
Anchor Tony Munch
Mike Shawn Roberts
Pillsbury Pedro Miguel Arce
Manolete Sasha Roiz
Motown Krista Bridges
Mulligan Bruce McFee
Chihuahua Phil Fondacaro
Brubaker Alan van Sprang
Roach Earl Pastko
Styles Peter Outerbridge
Knipp Gene Mack
Brian Devon Bostick
Photo Booth Zombies
Newsreader
Simon Pegg Simon PeggVC
Edgar Wright
Blades the Machete Zombie Tom Savini
Bridgekeeper Zombie Gregory Nicotero
Tony Ravello Shawn Roberts Shawn RobertsA
Jason Creed Joshua Close Joshua CloseA
Debra Moynihan Michelle Morgan Michelle MorganA
Andrew Maxwell Scott Wentworth Scott WentworthA
Tracy Thurman Amy Lalonde Amy LaLondeA
Eliot Stone Joe Dinicol
Ridley Wilmott Philip Riccio
Biker George Buza
Mary Dexter Tatiana Maslany
Samuel R .D. Reid
Newscaster Tino Monte
Francine Shane Megan Park
Stranger Martin Roach
Colonel Alan van Sprang
Zombie Trooper Matt Birman
Bree Laura DeCarteret
Asian Woman Janet Lo
Zombie Rebuka Hoye
Brody Todd William Schroeder
Zombie Alexandria DeFabiis
Fred Nick Alachiotis
Chief of Police George A. Romero
Armorist Boyd Banks
Zombie Surgeon Gregory Nicotero
Gordo Thorsen Chris Violette
Newsreader Quentin Tarantino
Newsreader Wes Craven
Newsreader Guillermo del Toro
Newsreader Stephen King
Sarge “Nicotine” Crockett Alan van Sprang Alan van Sprang
Patrick O’Flynn Kenneth Welsh
Janet “Jane” O’Flynn Kathleen Munroe
Seamus Muldoon Richard Fitzpatrick
Tomboy Athena Karkanis
Francisco Stefano Di Matteo
Chuck Joris Jarsky
Kenny McDonald Eric Woolfe
James O’Flynn Julian Richings
Tawdry O’Flynn Wayne Robson
D.J. Joshua Peace
Talk Show Host George Stroumboulopoulos

Reception[edit]

Review aggregate results[edit]

Motion picture Rotten Tomatoes Metacritic BFCA
Night of the Living Dead 96% (52 reviews)[5] N/A N/A
Dawn of the Dead 92% (39 reviews)[6] N/A N/A
Day of the Dead 82% (34 reviews)[7] N/A N/A
Land of the Dead 74% (171 reviews)[8] 71 (30 reviews)[9] 63[10]
Diary of the Dead 62% (128 reviews)[11] 66 (29 reviews)[12] 70[13]
Survival of the Dead 30% (84 reviews)[14] 43 (22 reviews)[15] 61[16]
Average ratings 72% 60% 64%

Accolades[edit]

Awards
Motion Picture Organization/Guild Ceremony Category Name Outcome
Night of the Living Dead National Film Preservation Board (1999) National Film Registry Won[17]
Dawn of the Dead
Academy of Science Fiction, Fantasy & Horror Films 8th Saturn Awards Best Make-Up Tom Savini Nominated[citation needed]
Academy of Science Fiction, Fantasy & Horror Films 31st Saturn Awards Best DVD Classic Film Release Ultimate Edition Won[18]
International Press Academy 9th Annual Satellite Awards Best Overall DVD Anchor Bay Nominated[19]
Day of the Dead
Academy of Science Fiction, Fantasy & Horror Films 14th Saturn Awards Best Make-Up Tom Savini Won[20]
Sitges Film Festival (18 ed. 1985) Maria Best Actress Lori Cardille Won[21]
Land of the Dead
Academy of Science Fiction, Fantasy & Horror Films 32nd Saturn Awards Best Horror Film Nominated[citation needed]
Best Make-Up Howard Berger, Gregory Nicotero Nominated[citation needed]
Directors Guild of Canada (2006) DGC Craft Award Outstanding Achievement In Picture Editing – Feature Film Michael Doherty Nominated[22]
Outstanding Achievement In Production Design – Feature Film Arvinder Grewal Nominated[22]
Outstanding Achievement In Sound Editing – Feature Film Kevin Banks, Nelson Ferreira, Lee de Lang,
Craig Henighan, Jill Purdy, Nathan Robitaille
Nominated[22]
Empire Awards 11th Empire Awards Best Horror Nominated[23]
Teen Choice Awards (2005) Teen Choice Awards Choice Summer Movie Nominated[24]
Diary of the Dead Gérardmer Film Festival (2008) Critics Award George A. Romero Won[25]
Survival of the Dead Venice Film Festival 66th Venice International Film Festival Golden Lion George A. Romero Nominated[citation needed]

See also[edit]

Image result for a night of the living dead 2014

Image result for a night of the living dead 2014

Night of the Living Dead: Darkest Dawn

From Wikipedia, the free encyclopedia
Night of the Living Dead: Darkest Dawn
Night of the Living Dead Darkest Dawn.jpg

Theatrical poster
Directed by Krisztian Majdik, Zebediah De Soto
Produced by Simon West
Jib Polhemus
Gus Malliarodakis
Written by Zebediah De Soto, David R. Schwartz
Starring Tony Todd
Danielle Harris
Bill Moseley
R. Madhavan
Joseph Pilato
Sydney Tamiia Poitier
Alona Tal
Tom Sizemore
Music by Jermaine Stegall
Cinematography Gabriel Sabloff
Edited by Krisztian Majdik
Release date
  • July 11, 2015 (2015-07-11)

(Walker Stalker Fan Fest)

Country United States
Language English

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.[1][2] The film is a re-telling of the original Night of the Living Dead in a contemporary setting.

Synopsis[edit]

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.

Cast[edit]

Production[edit]

The film had been in production on and off for five years since 2009.[12] 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.[13] The budget was rumored to be below 1 million USD.

Mos Def was originally cast as a voice actor,[14] but after a short time, he was released from the project.[15] 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.[16]

Release and reception[edit]

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.[17] The film later premièred at 2015 Comic Con held in San Diego as a part of the Walker Stalker Fan Fest, during July 2015.[18] 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.[19] Genre author A. M. Esmonde stated, “the visual graphic aesthetics aren’t too hot, quite frankly a little disappointing.”[20] 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.”[21]

Night of the Living Dead

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Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Image result for NIGHT OF THE LIVING DEAD GIFS

Night of the Living Dead

From Wikipedia, the free encyclopedia
Night of the Living Dead
Night of the Living Dead (1968) theatrical poster.jpg

Theatrical release poster
Directed by George A. Romero
Produced by
Screenplay by
Starring
Music by
Cinematography George A. Romero
Edited by George A. Romero
Production
companies
  • Image Ten
  • Laurel Group
  • Market Square Productions
Distributed by
Release date
  • October 1, 1968 (1968-10-01)
Running time
96 minutes[1]
Country United States
Language English
Budget $114,000[2]
Box office $30 million[2]

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”.[3][4]

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.[4]

Plot summary[edit]

Ghouls swarm around the house, searching for living human flesh

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.

Night of the Living Dead (full film)

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.

The Cooper family hiding in the cellar.

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.

Cast[edit]

Ben, played by Duane Jones.

  • 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.[5] 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”.[6] 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.[7] Despite his other film roles, Jones worried that people only recognized him as Ben.[8]
  • 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!”[9]
  • 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.[10]
  • 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.”[11] 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.

Production[edit]

Development and pre-production[edit]

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”,[12] 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.[12] 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.[13] 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.[12][14]

Writing[edit]

Co-written as a horror comedy by John Russo and George A. Romero under the title Monster Flick,[15] 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.[16] 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.[17]

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.[14][18][19] 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.”[20] 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.[21]

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”,[22] though he later said, “George Romero’s a nice guy, though. I don’t harbor any animosity toward him.”[23] 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'”.[24]

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.[12]

Eastman modified cellar scenes featuring dialogue between Helen and Harry Cooper.[12] 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”.[9] 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.[9]

Filming[edit]

Principal photography[edit]

Evans City Cemetery in 2007

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”.[12] 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.[25][26]

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.[27][28]

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.[29] 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.[12] Filming took place between June and December 1967 under the working title Night of Anubis and later Night of the Flesh Eaters.[15][30] 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“.[31]

Directing[edit]

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.[32][33] 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).[34] 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.[35] 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”.[36] According to film historian Carl Royer, Romero “employs chiaroscuro (film noir style) lighting to emphasize humanity’s nightmare alienation from itself”.[37]

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”.[38] 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.[39]

Post-production[edit]

Members of Image Ten were involved in filming and post-production, participating in loading camera magazines, gaffing, constructing props, recording sounds and editing.[14] 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”.[12] 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.[40] 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”.[32] 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.[30] While changing the title, the copyright notice was accidentally deleted from the early releases of the film.[41]

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”.[42]

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”.

Soundtrack[edit]

Night of the Living Dead: Original Motion Picture Soundtrack
Film score by Various Artists
Released 1982 (1982)
Genre Soundtrack
Label Varèse Sarabande
Producer Scot W. Holton
Compiler Scot 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”.[43] 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…

Controversy[edit]

Night of the Living Dead premiered on October 1, 1968 at the Fulton Theater in Pittsburgh.[44] 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.[45][46] 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:[46]

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…”[47]

One commentator asserts that the film garnered little attention from critics, “except to provoke argument about censoring its grisly scenes”.[48]

Reception[edit]

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”.[49] 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.[48] 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.[50][51]

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”,[52] and it is regarded by many as one of the best films of 1968.[53][54][55] In 2008, the film was ranked by Empire magazine No. 397 of The 500 Greatest Movies of All Time.[56] The New York Times also placed the film on their Best 1000 Movies Ever list.[57] In January 2010, Total Film included the film on its list of The 100 Greatest Movies of All Time.[58] Rolling Stone magazine named Night of the Living Dead one of The 100 Maverick Movies in the Last 100 Years.[59] Reader’s Digest found it to be the 12th scariest movie of all time.[60]

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”.[3][10][61] 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.[62] 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.[63] The Chicago Film Critics Association named it the 5th scariest film ever made.[64] The film also ranked No. 9 on Bravo‘s The 100 Scariest Movie Moments.[65]

Critical response[edit]

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”.[66] The New York Times critic Vincent Canby referred to the film as a “junk movie” as well as “spare, uncluttered, but really silly”.[67]

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”.[68] A Film Daily critic commented, “This is a pearl of a horror picture that exhibits all the earmarks of a sleeper.”[69] While Roger Ebert criticized the matinée screening, he admitted that he “admires the movie itself”.[46] 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.”[70]

Barbra and Ben after their first meeting

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”.[71] 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.[72] 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.[73]

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”.[6][74] Stein adds, “In this first-ever subversive horror movie, the resourceful black hero survives the zombies only to be killed by a redneck posse”.[71] The deaths of Ben, Barbra and the supporting cast offered audiences an uncomfortable, nihilistic glimpse unusual for the genre.[75]

Other prevalent themes included “disillusionment with government and patriarchal nuclear family”[71] and “the flaws inherent in the media, local and federal government agencies, and the entire mechanism of civil defense”.[76] 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”.[77] 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”.[6]

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.

Influence[edit]

Living dead Karen Cooper, eating her father’s corpse

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”.[78] 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.[44][79][80] 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.[4] 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.[81] 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”.[82] 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.[83]

Revisions[edit]

The film has been subject to numerous revisions. This screenshot is from the 2004 colorized version.

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.[84] Another colorized version appeared in 1997 from Anchor Bay Entertainment with grey-skinned zombies.[85] 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.[86] 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.[87] The film was theatrically released on October 14, 2010.[88] 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.[89][90]

In 1999, co-writer John A. Russo released a modified version called Night of the Living Dead: 30th Anniversary Edition.[91] 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”.[92] 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“.[93] 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.[94]

A collaborative animated project known as Night of the Living Dead: Reanimated was screened at several film festivals[95][96][97][98] and was released onto DVD on July 27, 2010 by Wild Eye Releasing.[99][citation needed][100][101] 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.[102] Night of the Living Dead: Reanimated premiered theatrically on October 10, 2009 in Ramsey, New Jersey[103] at the Zombie Encounter and Film Festival.[104] 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.[105]

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.[106]

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”.[107]

Film series[edit]

Main article: Living Dead

List of Anniversary Editions[edit]

  • 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

Film connections[edit]

Romero’s Dead films[edit]

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[edit]

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.[citation needed] 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.[108]

Origins[edit]

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.[109] Cameron Romero co-wrote along with Darrin Reed and Bryce C. Campbell.[110] The film would reportedly be produced by Ted Field and Aldo LaPietra for Radar Pictures.[111]

Restoration[edit]

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.[112] 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.[113][114]

Remakes and other related films[edit]

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[115] (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.[116]

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.[117] Broadstreet’s film was followed in 2012 by the prequel Night of the Living Dead 3D: Re-Animation.[118]

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.[119][120] 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.[121][122][123][124][125][126]

Director Doug Schulze’s 2011 film Mimesis: Night of the Living Dead relates the story of a group of horror film fans who become involved in a “real-life” version of the 1968 film.[127][128]

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.[129]
  • 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.[130]
  • Night of the Living Dead: Genesis (2016): Director Matt Cloude initially announced this remake project in 2011.[131] 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.[132]

Copyright status[edit]

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.[133] In 1968, United States copyright law required a proper notice for a work to maintain a copyright.[134] 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.[41][135]

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.[136] The original film is available to view or download free on Internet sites, such as Internet Archive, Hulu, and YouTube.[137][138][139] As of January 22, 2017, it is the Internet Archive’s most-downloaded film, with over 2.8 million downloads.[140] It is also one of the first movies known to be distributed on the Internet.[141]

Patient Zero (film)

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Image result for patient zero movie

Image result for patient zero movie

Image result for patient zero movie

Patient Zero (film)

From Wikipedia, the free encyclopedia
Patient Zero
Directed by Stefan Ruzowitzky
Produced by Vincent Newman
Written by Mike Le
Starring Matt Smith
Natalie Dormer
Clive Standen
Agyness Deyn
Stanley Tucci
Music by Johnny Klimek
Cinematography Benedict Neuenfels
Edited by Mark Stevens
Production
company
Vincent Newman Entertainment
Distributed by Screen Gems
Country United States
United Kingdom
Language English

Patient Zero, previously known as Patient Z, is an upcoming American-British fantasyhorror 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.

Plot[edit]

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.[1]

Cast[edit]

Production[edit]

The cast and crew of Patient Zero at the 2015 San Diego Comic-Con to promote the film.

The script for the movie was the subject of a bidding war between several different studios including Fox Searchlight Pictures .[7] Silver Pictures, Davis Entertainment, Broken Road Productions, Donners’ Company, Vincent Newman Entertainment and Misher Films.[7] The script is set in a post-apocalyptic world, about a man who has to find an antidote for his zombie infected wife.[7] Screen Gems eventually won the bidding war and Vincent Newman was set to produce through his Vincent Newman Entertainment.[8] Austrian director Stefan Ruzowitzky was set to direct the film on May 2, 2014.[9]

Natalie Dormer‘s involvement was announced in September 2014’.[3] Followed by Matt Smith joining that November.[2] Other roles were announced in early 2015 with Stanley Tucci joining in January[4] John Bradley-West [6] and Clive Standen joining in February. [5] and Agyness Deyn joining in March [1]

Filming[edit]

Principal photography on the film began in London on March 3, 2015.[10] On March 9, shooting was underway at Shepperton Studios in England.[1] Filming would take place in London through April 18, 2015.[1] They have also filmed in Welwyn Garden City on April 15, 2015 where a SWAT van and car were seen on set.[11]

Release[edit]

In August 2015, Sony Pictures Entertainment set the film for a September 2, 2016 release.[12] On April 28, 2016, the film was delayed to February 17, 2017.[13] In January 2017, the film was removed from the release schedule.[14]

SCANDINAVIAN ZOMBIE FLICK…ZONE 261

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Image result for zone 261

Image result for zone 261

Image result for zone 261

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.