******

Quote:

Zombies are the middle children of the otherworldly family. Vampires are the oldest brother who gets to have a room in the attic, all tripped out with a disco ball and shag carpet. Werewolves are the youngest, the babies, always getting pinched and told they're cute. With all that attention stolen away from the middle child zombie, no wonder she shuffles off grumbling, "Marsha, Marsha, Marsha."

- Kevin James Breaux
Showing posts with label Night of the Living Dead. Show all posts
Showing posts with label Night of the Living Dead. Show all posts

Thursday, April 30, 2020

Top 10 Favorite Black & White Horror Films



Because I love black & White (B&W) films and most of my favorite films of all time are B&W films I decided that a “Top 10” list of these films would be too large.  Instead, I separated Silent films and regular B&W films into their own lists while leaving an entire list dedicated to the horror genre!  I hope you enjoy this list and make sure to check out the other lists as well.  This list is in no particular order and remember to leave your comments and post your own list:

1.       The Haunting (1963)
2.       Carnival of Souls (1962)
3.       Vampyr (1932)
4.       Psycho (1960)
5.       I Walked With a Zombie (1943)
6.       Cat People (1942)
7.       Invasion of the Body Snatchers (1956)
8.       Freaks (1932)
9.       Night of the Living Dead (1968)
10.   Spider Baby or, The Maddest Story Ever Told (1967)

Monday, April 6, 2020

Film Review: VICTOR CROWLEY (2017)


Director Adam Green returns to his most famous creation in the third sequel in the Hatchet franchise Victor Crowley (2017).  Designed as a new chapter in the ongoing series since in this film Andrew (Parry Shen) takes center stage from the character of MaryBeth in the original Hatchet trilogy.  This is actually a great idea as it breathes new life in the franchise.

Years after the events of Hatchet III (2013), Andrew finds himself entangled in controversy whereas the greater public believes he was the true killer of the Hatchet murders.  Andrew is promoting his new book which tells the true story of what happened so that he can better clear his name…and make some money on the side.  Everything isn’t going as well as hoped and when his manager Kathleen (Felissa Rose) suggests that he return to the scene of the crime for a television show for a quick payday he jumps at the opportunity.  Misfortune hits them even harder when the plane carrying Andrew and the team of television host and crew crash lands in Victor Crowley’s (Kane Hodder) swamp.  Also, unbeknownst to Parry is that an independent film crew are also in the swap wanting to produce an indie film about the Hatchet murders; when they unknowingly resurrect Victor Crowley from his watery grave Parry and the television crew and the indie film crew find themselves trapped in Crowley’s swamp whom will stop at nothing at killing each and every one of them.

Despite being a fan of the original film, I wasn’t as big a fan of the first two sequels but that doesn’t mean that they weren’t just as entertaining and gory as anything being produced at the time.  Most of the actual story was in the original film and therefore there was little else to explore in the sequels.  This film is a completely different animal as it is fully aware of the horror fan culture with the addition of swamp tours and Victor Crowley souvenirs that can be purchased by tourists.  The addition of Crowley’s resurrection spell being available on You Tube as well as the “talk show” references to the television crew and Blair Witch Project indie film crew references give this film a lot of material to mine and riff at which makes this film infinitely more engaging and entertaining.  There are just so many great moments in the script that it would take forever to name them all but just let me tell you that this film was made by and designed for by horror fans.  The only real downside is that Crowley becomes nothing more than a force of mayhem and destruction with little time spent on developing his character any more than what we’ve already gotten in previous films but there is just as much gore and utter destruction in this film as in previous films which will satisfy horror fans.

One of the interesting aspects to this film is that it was filmed completely in secrecy and unveiled as a surprise to audiences.  When you view the film, you’’ll realize that most of it takes place in a single location (the crashed airplane) which makes for an interesting homage to Night of the Living Dead, where a group of people are trapped in a single location against a great evil outside the doors.  The film looks great (as usual) but the self-referential references set this film apart from the previous sequels.  This film also has a healthy amount of humor and as also Hodder provides some amazing physical and makeup FX.  This is a great addition to the Hatchet franchise and it opens the world up to different approaches in further sequels.

Sunday, April 5, 2020

Film Review: NIGHT OF THE LIVING DEAD: DARKEST DAWN (2014)


There is never any shortage of filmmakers mining the title of “Night of the Living Dead” due to the fact that it is in the public domain but it’s rare when someone attempts an animated film such as Night of the Living Dead: Darkest Dawn (2014).  Now this isn’t the first attempt at an animated film based on this property as 2009’s Night of the Living Dead: Reanimated has that honor but this film does take the story you are familiar with and turns it on its head to craft something uniquely different for fans of the original film.

If you’ve seen the original ’68 and/or ’90 version of the George Romero film then you know the basic story.  Barbara (voiced by Danielle Harris) and her brother Johnny (Bill Moseley who played the same character in the ’90 version) go to a graveyard to visit their dead father’s grave when they are attacked by a zombie.  After Johnny dies, Barbara flees down the road finding herself at the farm house where she meets Ben (voiced by Tony Todd, also returning from the ’90 version) and the rest of the cast of characters.  It starts of nice and well just like the original film but then detours as the action soon leaves the house and takes to the city streets.

The detours in the plot that this film takes are interesting and refreshing from a film that’s been redone, remade, and re-imagined by more people than any other film in history and none of the proceeds going back to the original filmmakers.  Some of the more creative rip-offs includes NOTLD: Resurrection (2012), NOTLD 3D (2006) and its sequel 3D: Re-Animation (2012) and there is even a new one to be released soon called NOTLD: Genesis, in addition to all the ones previously mentioned.

Although this would seem to be an interesting film, the animation style is what pulls it down as it is basic and lacks refinement and cohesiveness.  This is surprising considering that the Reanimated film had a plethora of different styles from different creators and yet it all messed together.  Directed  by Zebediah De Soto and Krisztian Majdik the film is inspired but may not appeal to anyone other than hardcore NOTLD fans interested with a curiosity for something new.


Saturday, April 28, 2018

Film Review: THE MAJORETTES (1987)



High school girls start showing up dead in THE MAJORETTES (1987) based on the novel by John A. Russo (writer for the original NIGHT OF THE LIVING DEAD).  Here, Russo also writes the screenplay with another alumni of NOTLD Bill Hinzman taking over here as director.  Like many derivative slasher films of the late “80s, The Majorettes has sex and gore and nudity, but little else.  The film lacks the ambiance of Halloween or the sheer (implied) brutality of Texas Chain Saw Massacre.  It lacks the originality of Hellraiser or the makeup FX of The Burning.

In fact, there is very little to The Majorettes other than the star talent behind the camera as the cinematography is lacking as the iconic music.  It’s interesting that this is the first of the only two films Hinzman directed (the other is FLESHEATER, which also is not that good of a film either).  Russo, on the other hand, wrote the screenplay for the film based on his novel and went on to write, produce, and direct other films based on his novels.

The Majorettes is a film for Russo and Hinzman fans and little else even if you can appreciate the the trash cinema of the ‘80s slasher boom.

Sunday, January 11, 2015

Book Review: THE G.O.R.E. SCORE Vol. 2 by Tony Schaab



If you are a fan of all things horror and of zombies specifically than Tony Schaab’s book The G.O.R.E. Score Volume 2 is right up your alley.  If you are already familiar with Schaab and his previous book Volume 1 than you already know what’s in store for you in this volume which continues to review everything zombie related from films to television series and comics and books and music and video games. 

Schaab has a unique way of reviewing (and thus scoring) horror films which makes up a film’s G.O.R.E. score (which is explained in the book) but it should be safe to say that the higher the G.O.R.E. score the more you’ll enjoy the film.  Schaab does an excellent job of reviewing everything in the book on its own merits and highlights the components of what he is reviewing that will most appeal to his readers.  This is especially helpful when the film, overall, doesn’t get a very high cumulative G.O.R.E. score but still has merits it other areas.

Some of the reviews to look out for are those on the films The Serpent & the Rainbow, Pontypool, The Walking Dead: Season 1, and episodes of the TV series Eerie, Indiana and South Park, to name a few.  Some of the books of note are Stephen King’s Cell, David Dunwoody’s Empire, and Craig DiLouie’s The Infection.  Comics on review this volume are graphic novels from the Army of Darkness series, The Mammoth Book of Zombie Comics, and Victorian Undead, to name a few .  Of great notice is Schaab describing his experience as a zombie extra for the live stage version of “Night of the Living Dead.”

There are a lot of great moments in this book as Schaab is a great storyteller and has some interesting outlooks on the things that he is reviewing.  What is missing from this volume are reviews on anything classic zombie or more mainstream.  Schaab’s choice of reviews for this volume is very eclectic but most of the things reviewed are mediocre at best.  There are no great revelations to be had here in this book so it is more designed for fans of zombie films from a zombie fan.  Readers who don’t love zombie related films or entertainment will find very little reason to give this book a chance but zombie fans may find more interest in Schaab’s look at the more indie films and smaller zombie related items that they may have looked over or missed.

Sunday, July 6, 2014

“How Many is Too Many NOTLD Films?”



I just picked up the graphic novel version of director George A. Romero’s Night of the Living Dead (1968) and was surprised first by the fact that someone even thought that there needed to be an adaptation of the film and second, that the graphic novel is comprised of scene shots of the film slightly animated to give the image an impression of being hand drawn.  It makes the whole thing look like an old Ralph Bakshi rotoscoped animated film (he directed the animated Lord of the Rings film and Cool World). 

It got me thinking of all the people that have had the balls to take Romero’s classic film (which due to an era with the copyright is in public domain) and deface it with yet another atrocity of which Romero and his fellow filmmakers are probably not reaping the benefits.  This goes for all the plethora of films and graphic novels and even an animated film that have continued the story of NOTLD but not the legacy of which Romero’s subsequent films have done (i.e. Dawn/Day/Land/Diary/Survival of the Dead).

For the purposes of this article I will only be discussing films rather than graphic novels, comics, books, and other mediums.  Let’s first take a look at the films that are official remakes of Romero’s films starting with his own NOTLD (1990).  Romero wrote the screenplay for this film but gave directing chores to his frequent collaborator Tom Savini.  In many respects, Romero improves upon the screenplay from the original but the film suffers from lacking the punch of the original.  The late ‘90s were horrible for the horror genre as violence was toned down due to studio interference and public outrage.  Much of the violence is off-screen and the zombie genre was more or less dead and buried at this time.   This film was ignored by audiences upon its original release (although I am happy to say I saw the film on opening night).  Next comes the remake of Dawn of the Dead (2004).  This remake came out at just the right time to re-invigorate zombies to the modern audience.  This film was the forerunner for the fast moving zombie and took onscreen violence to a new and shocking level.  This was a fast paced and suspenseful film from beginning to end.  It is hailed as one of the best horror remakes ever right up there with John Carpenter’s The Thing (1982) and David Cronenberg’s The Fly (1986).  The final remake is Steve Miner’s Day of the Dead (2008), which is considered a travesty.  With a vegetarian zombie and zombies that climb and crawl on walls as if possessed by a demon this film was laughed at despite the capable name cast.  This is a film that fans despise despite the fact it was handled by Miner who is an icon of the genre having directed Friday the 13th Part 2 (1981), Friday the 13th Part 3-D (1982), Halloween: H20 (1998), and House (1986), among many others.

Next up on our list is the NOTLD; 30th Anniversary Edition (1999) shepherded into existence by John Russo and Bill Hinzman (co-writer and producer/First Zombie, respectfully).  Russo added scenes with Hinzman and made several other changes none of which enhanced the film.  This is the version that was most inspired by George Lucas’ augmentations to the original Star Wars trilogy and Steven Spielberg’s changes to E.T.: The Extra-Terrestrial (1982).  A film whose existence has been forgotten by most.  On the opposite side of the spectrum is the animated version NOTLD: Reanimated (2009), which is an artistic homage to the original as artists from all over the world augment and/or animate segments of the film in different styles creating a unique amalgamation of a film.  Despite having no connection to the original filmmakers of the ’68 classic this is the ultimate fan-film of love not just to the film but to fans of the horror genre in general.

Before digital 3-D technology revolutionized the industry NOTLD 3-D (2006) was released upon the world in a limited theatrical run using anaglyph technology.  This Sig Haig (of Rob Zombie’s The Devil’s Rejects) starring monstrosity utilized every cliché of the 3-D movie while retelling NOTLD in a modern day setting.  This film is better left forgotten as is its sequel NOTLD: Re-Animation (2012).  This being said both films do have some decent gore gags but the overall plot of the films are lacking despite the horror icons that populate the films (Re-Animation stars Andrew Divoff and Jeffrey Combs).

In this same vein of the 3-D remakes is NOTLD: Resurrection (2012) from the UK which is completely uninspired despite the modern day setting.  What makes the film an atrocity is the horrible script, bad acting, amateur cinematography, and complete lack of any originality.  The same cannot be said of Mimesis: NOTLD (2011) which is a self-aware, home invasion style film in which a group of people find themselves reliving the events from the film.  This is actually a pretty entertaining new take on the material.
Up next are all the unofficial sequels which are all the films Romero had nothing to do with.  Return of the Living Dead (1985) and its four sequels are the most famous.  The first film redefined zombies again by claiming that the events of the film NOTLD really happened.  Zombies in the film were also intelligent and could speak but the true difference is that these zombies craved brains instead of any old body part.  This film ushered in a whole new and different type of zombie.  Of note is the fact that this film was originally conceived by NOTLD co-writer/producer John Russo who would also produce NOTLD: 30th Anniversary Edition and Children of the Living Dead (2001).  With the exception of Return all of Russo’s subsequent films have been atrocities to the legacy of the original.  Bill Hinzman (the First Zombie see in the original NOTLD) decided to expand his character’s role by developing the film Flesheater (1988), which he also directed,  but this film is marked with a bad script, horrible acting, subpar makeup effects, and uninspired action and gore sequences.  This is an amateur film in every way despite the pedigree behind the camera.  This film has about as many redeeming qualities as Day of the Dead 2: Contagium (2005).  Ana Clavell and James G. Dudelson purchased the sequel rights to the original film to craft this in name only sequel that has nothing to do with any of the Romero films.  It does have zombies but that in and of itself does not make a good film.

The last in name only sequels would be Zombie 2 (1979) also known as Flesh Eating Zombies (and even more simply Zombi or Zombie).  In Italy the original Romero Dawn of the Dead was released as Zombi and this is the Lucio Fulci directed sequel/prequel to that film which was an easy way for Fulci to cash in on the success of a popular film.  Fulci directed a more traditional zombie film with the use of a voodoo like religion and the dead rising from their graves.  Since the Italian film industry was very fond of ripping each other off and changing the titles of a film whenever it suited them.  There are actually three more films in the series (plus maybe a few more with titles changed).  Italian zombie films are a completely different monster all their own.

Now that you have a better understanding on just how many films are associated with Romero’s films (not to mention the list of documentaries on hand) the question to ask yourself is – How much is too much?
Romero himself may have taken a break from producing another post-Survival of the Dead (2009) and he may have a complete disregard for all the films cashing in on his legacy but that won’t stop them from being made.  On average, there is a new film produced every couple years and along with the comic and graphic novels there is no sign of NOTLD’s popularity from subsiding.  So even though there are too many different films and stories currently out there, as zombie fans we can always do with a few more.

Either that or you can wait until Romero produces another zombie film (since I’ve seen them all on the big screen since ‘90s remake).

Book Review: GHOULS, GIMMICKS, AND GOLD: Horror Films and the American Movie Business, 1953-1968 by Kevin Heffernan



Horror is one of the most vital genres in film as it has influenced and changed the way audiences look at themselves, culture, and the history of film itself.  In Kevin Hefferman’s book Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968, Hefferman examines the business of horror from ’53 (the beginning of the 3-D cycle of films) to ’68 (the release of George A. Romero’s nihilistic Night of the Living Dead and the birth of adult horror). 

Hefferman breaks up his book in chapters specific to an era of film that not only changed the business of the genre but also made a cultural impact on audiences.  In the opening chapter “Horror in Three Dimensions” he delves into how the success of House of Wax and Creature from the Black Lagoon (among others) altered the business during the first 3-D boom.  In the chapter “The Color of Blood” the success of Hammer Films is examined which added luscious color and sex to the gothic horror film adding new life to a genre that was slowly in a downward spiral.  Hefferman also goes into AIP’s Poe adaptations with Vincent Price (“A Sissified Bela Lugosi”), the impact of grind house and art films (“Grind House or Art House?”), the impact of television on the industry and business (“Television Syndication and the Birth of the ‘Orphans’”), and several others culminating with the release of Night of the Living Dead and how it changed the industry (“Family Monsters and the Urban Matinees”).

Heffernan’s book is not one that recycles reviews and critics of any of the films discussed but rather goes into detail on how these films impacted the industry and signaled a shift and change in the way not only audiences but filmmakers saw the industry and genre.  The ‘50s and ‘60s saw such a diverse array of films being released that the reasons for the many shifts has always fascinated and confounded the industry and Heffernan does a great job of breaking it down here (at least in terms of the American movie business). 

The people that will get the most from this book are those who want to know why and how the horror film endured through so many changes in the ‘50s and ‘60s but even the casual horror fan will enjoy Hefferman’s non-academic style which makes everything more accessible to the casual reader (it could have been real easy for a book such as this to become too academic).

“Zombie Atrocities”



Many of you are aware that I’m a member of the Blank Stage Screenwriter’s Group (based out of Roswell, GA).  As a member of the screenwriter’s group I get the chance to listen to and read from some very interesting screenwriters  and help them critique and analyze the good and bad points of their work.  On occasion I get to present some of my own as I’ve most recently done with my Night of the Living Dead fan-film script NOTLD: Parallel Lives, an anthology of stories about the characters from the original George A. Romero ’68 film. 

What was most shocking about the night I presented my screenplay was that over 70% of the group members had neither seen nor heard of one of the most iconic horror films in history.  This wouldn’t have been as surprising if I was in a group of non-filmmakers and writers but this is a travesty to behold.  It is my belief that in order to be a good screenwriter (or any writer in general) that you study the classics and are aware of the iconic stories in order to better immolate them.

If you want to write better films you study the best – Casablanca, The Godfather, The Exorcist, Rocky, Gone With the Wind, The Searchers, etc   You don’t have to have studied and read the screenplay but you should have at least seen such films as Cinema Paradiso, The Seven samurai, 8 ½, E.T.: The Extra-Terrestrial, Jaws, Star Wars, Blade Runner, and most certainly Night of the Living Dead.

Why Night of the Living Dead you ask?
Night of the Living Dead (1968) was a film that changed the face of horror films of the ‘60s and redefined the term “zombie” while also commenting on the state of the United States post-Vietnam war era.  It had an African American as the star (hitherto unheard of) and was uncompromising in its gore (for the time).  It has since been held as one of the greatest horror films of all time alongside The Exorcist and Rosemary’s Baby and Jaws and continues to influence the horror genre and filmmakers even today while still being held as the Godfather of the zombie genre.  It’s not just a great horror film but a cinematique masterpiece.

So, in my opinion it was an utter travesty to hear that many of my fellow screenwriters had neither seen nor heard of the film.  In order to be a better screenwriter and filmmaker I’ve watched some of the best films from all over the world from Bergman to Kurosawa to those of Howard Hawks, Dario Argento, and Samuel Fuller.  I’ve studied the films of Woody Allen, Spike Lee, Mario Bava, Bernardo Bertolucci and Stanley Kubrick; the films of Steven Spielberg, John Carpenter, Martin Scorsese, Walt Disney, Lina Riefenstahl, Seigi Eisenstein, and William Friedkin.

Romero took his inspiration for NOTLD from Richard Matheson’s novel I Am Legend.  He took a classic novel as an influence for his own apocalyptic tale.  Just like he borrowed from an iconic novelist we should take inspiration from the best that cinema (and novelist) has to offer.  As a screenwriter I cannot stress this enough.  I watch (or at least plan on watching) as many classic films that I can in order to better write captivating stories and films.  Like Romero I also read a lot of different materials from novels to graphic novels to news articles for inspiration.  I read a lot of different materials in order to get a better understanding of story structure, style, genre, and execution, among many other things.

It is my hope not only as a filmmaker but as a writer that I can write material at the caliber of the people I admire and stories I know have resonated with audiences in the past.  It is my hope that other aspiring writers and filmmakers (and all artists in general) look to the past not only for inspiration but also to see what came before in order to see where we are heading and can go.  Today NOTLD, tomorrow the world.