July 19, 1985
DAY OF THE DEAD – like MAD MAX BEYOND THUNDERDOME – is a favorite movie of mine that I’ve already written about thoroughly (click here for my review from 2013), but that still felt important to revisit in my analysis of the Summer of 1985. I could watch it every year regardless, but even more than OMEGA MAN this is a movie that I’ve thought of repeatedly since the pandemic lockdown started four months ago. And sure enough, the movie rings true in new ways in 2020. George Romero knew what he was doing.
Before we get to that, let’s talk about it in the context of ’85. Obviously DAY is a little niche – another one of the many interesting movies coming out on the sidelines, not necessarily trying to capture the culture like BACK TO THE FUTURE or something. In a way it goes hand in hand with THUNDERDOME. Both are by visionary genre directors with the first name George, the less-well-received part 3s in the series each director is best known for, which has new chapters spread across decades, drastically reinventing its world each time. But THUNDERDOME was pitched for a wider (and younger) audience than THE ROAD WARRIOR, while DAY continued on the low budget/super-gory path of DAWN OF THE DEAD. And while THUNDERDOME has a larger scale and far more meticulous world-building than its predecessor, DAY mostly just has advances (huge ones) in its special effects makeup. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.