You know how it is, you love Clive Barker-based movies but you’ve seen HELLRAISER, NIGHTBREED, CANDYMAN and THE MIDNIGHT MEAT TRAIN a million times each, you’re not quite ready to try again on LORD OF ILLUSIONS, you even watched BOOKS OF BLOOD last year, but you want a little of that Barker movie kick, so it’s time for a Clive Dive. You gotta try some of the lesser ones out, see if you missed a good one, or if one you didn’t like back in the day is any better than you thought at the time.
So I tried one of each. The one I’d missed was the Masters of Horror episode Haeckel’s Tale, from 2006. It’s adapted by Mick Garris (THE FLY II) and directed by John McNaughton “in association with George A. Romero.” According to Wikipedia that just means Romero was supposed to direct it but had a scheduling problem. Around that time he was starting DIARY OF THE DEAD and announced a thing that never happened called SOLITARY ISLE, so it must’ve been one of those. (read the rest of this shit…)
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…)
An obscure kind of conspiracy: NIGHT OF THE LIVING DEAD
NIGHT OF THE LIVING DEAD is on a long list of the movies that I mention all the time in reviews and then when I go to add a link I realize that I’ve never officially written it up. It’s one of those classics that so much has been said about that it’s intimidating to even approach it. Seems presumptuous to think I might have something new to say about it.
It’s also a movie that I felt I had worn out at a certain point. I remember a Halloween some years back when I put it on and when it was over I felt I hadn’t gotten as much out of it as I used to, so I put it on hiatus. But now the Criterion Company has given us what could be the definitive release of the abused-by-public-domain film, which is as good an excuse as any to finally revisit the movie, discuss different aspects of it and see how its themes apply to these fucked up times we’re living in fifty years later. (read the rest of this shit…)
Hollywood George Romero is not my favorite George Romero, but he’s the most underrated one. With THE DARK HALF (1993, but shot in ’90 and ’91) he’s still filming in Pennsylvania (portraying Stephen King’s Castle Rock, Maine), but funded by Orion, with enough of a budget ($15 million) for Academy Award winning movie star lead Timothy Hutton (CITY OF INDUSTRY), three months of training for 4,000 birds, and some early computer effects. It has more of a slick, Hollywood feel than we associate with Romero, less of his hand-crafted-by-local-artisans vibe, but that’s not the end of the world. It’s cool to see how well he can do a straight-forward adaptation of a book by King (“Hoagie Man,” KNIGHTRIDERS). Better than most, it turns out. (read the rest of this shit…)
After two years I was finally starting to get used to a post-Wes Craven world – now all the sudden we Fangorians find ourselves heading into Fall minus George Romero and Tobe Hooper, two of the largest shadows in horror. Like Craven, both of them made an iconic horror classic early on, and remained primarily in the genre for their whole careers, delivering many other gems across multiple decades. Romero’s DAWN OF THE DEAD and Hooper’s THE TEXAS CHAIN SAW MASSACRE are two of my most obsessed upon horror films, the two that seem to take turns being my All Time Favorite on any particular day. Just as important, Romero and Hooper each maintained a distinct voice that made their weaker movies still interesting when taken in context with the larger body of work.
When I think of Romero I think of independence. He and his Pittsburgh based commercial company Latent Image made NIGHT OF THE LIVING DEAD to break into features, a recipe they may have gotten from Herk Harvey’s CARNIVAL OF SOULS. For them it worked, but instead of moving to Hollywood, Romero built his empire in Pennsylvania and filmed almost all of his movies there. That includes his first studio movies, MONKEY SHINES and THE DARK HALF, both of which I think are underrated. Since he later moved to Toronto, his last three films, LAND OF THE DEAD, DIARY OF THE DEAD and SURVIVAL OF THE DEAD, are filmed around there. (read the rest of this shit…)
I think DAWN OF THE DEAD will always be my favorite zombie movie, but DAY OF THE DEAD is the one that’s grown with me the most. When I first saw it I liked it, but my enthusiasm was held back by the obnoxious performances of the guys playing the soldiers. They’re written as total assholes, taunting everybody, dropping weird racial slurs, and the actors (including makeup artist Greg Nicotero, who is now effects head/producer/director/writer/zombie on The Walking Dead) play them as giggling, yelling wackos, more like Rapist #3 in a cheap vigilante movie than like army professionals. The best performance among them is Joe Pilato as their leader, Colonel Rhodes, but he’s so convincing as a detestable prick that I was always convinced he was just being himself.
But I’ve watched the movie many times over the years and it just gets better and better. What once seemed like major flaws have faded away while its successes seem more and more impressive. These days I love to hate Rhodes, who’s such a dick that I can’t even root for him when he pulls off the award worthy badass move of grunting “Choke on ’em!!” at the zombies who’ve torn him in half and are eating his intestines. And the rest of those guys don’t bother me that much anymore. Their undeniable obnoxiousness has been far eclipsed by the aspects of the movie I love: everything else. (read the rest of this shit…)
How do you write a review of DAWN OF THE DEAD at this point? I’ve discussed it to death with a million people over the years, and I figure we’ve all gone over it all before, right? It’s kind of presumptuous to think you’ve got something semi-new to say about a movie that’s been discussed this much. In a way I’ve already reviewed it in bits and pieces over the years, talking about it in my review of the remake and probly other places. But this year I sat down and watched it again and I thought it was a shame it’s not in my reviews archive, because it’s one of my very favorite movies. Look – I can prove it by going on about it for a while! Let’s discuss how great this movie is. (read the rest of this shit…)
I still love the original NIGHT OF THE LIVING DEAD, a nice, moody little cinematic play about differences of opinion between strangers hiding out in a farm house during the first ever worldwide zombie epidemic. I believe I watched it Halloween night of 2012 and I realized I’d kind of worn it out, it was too burnt into my brain and I’d need to take a break from it for a few years at least so I could appreciate it more next time.
But I was really jonesing to watch DAWN and DAY of the dead before Halloween this year so I decided to do a historically inaccurate color trilogy by substituting the 1990 remake of NIGHT OF THE LIVING DEAD, which I hadn’t watched in some time. (read the rest of this shit…)
Sometimes I think about it, and I wonder... who *are* the walking dead, anyway? Is it them? Are *they* the walking dead? Or could it be that in fact, the walking dead are-- Wait, is that Sophia over there?
I guess about 9 million people watched the second season finale of The Walking Dead, so I was thinking maybe one or two of you saw it. And then I saw some of you talking about the show in the comments, so that supports the theory.
For those of you who are watching and all caught up to the end of the second season I need to ask you guys about the last couple episodes, get a couple things off my chest. So this will involve the ol’ spoilers, including deaths of characters, if you care.
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It’s safe to say NIGHT OF THE LIVING DEAD is one of the most famous movies ever, right? It’s been remade and badly remade in 3D and colorized and sequelized and homaged and recut and it’s in the public domain and pretty much everybody’s seen it and even if they haven’t they probly have some kind of familiarity with the guy saying “They’re coming to get you, Barbara” in the cemetery as a zombie stumbles toward them.
“Hey, I didn’t think SURVIVAL OF THE DEAD was all that terrible. Just not very good.” That’s what I told my buddies who had seen it before me. They were surprised and appalled.
The word was abysmal on George Romero’s latest, especially from the guy I saw DIARY OF THE DEAD with. He agreed with me that although that one was an embarrassing failure at least it had some good parts. He offered no such mercy for the new one. (read the rest of this shit…)
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Recent commentary and jibber-jabber
CJ Holden on The Quick and the Dead: “Well, you don’t have to kill someone to learn how to draw your gun as quick as possible and hit…” Jan 22, 11:56
Kaplan on The Quick and the Dead: “Also, it always felt weirdly contrived to me that she’s both such a badass that she can outshoot anyone, outfight…” Jan 22, 09:13
Kaplan on The Quick and the Dead: “I’m going to echo Stone being miscast. It’s unfair, considering she had the good taste to apparently shepherd this one…” Jan 22, 08:08
Mr. Majestyk on Malignant: “Nah. I saw MALIGNANT before the hype got out of hand, and I’m even happy about the hype. I’m glad…” Jan 22, 05:51
Curt on Crimewave: “I recently watched this on Tubi and it was every bit as entertaining as I remember when I saw it…” Jan 22, 02:50
The Humaniac on A Simple Plan: “This is one I haven’t revisited in quite some time. My memory of it is that it was a great…” Jan 21, 19:32
The Humaniac on The Quick and the Dead: “The great thing about a relatively standard but well written genre picture is that a great director like Raimi (or…” Jan 21, 19:15
Skani on Malignant: “So funny, Broddie, b/c, by the time I got to JANE DOE, it had reached peak hype, and I had…” Jan 21, 16:02
Broddie on Malignant: “You might be right there Skani. I did not like HERIDITARY I do think the hype played a part. I…” Jan 21, 15:45
Skani on Malignant: “Majestyk, if I could hazard another guess at your mental state (lol) — actually, screw that, if I could project…” Jan 21, 14:02
Broddie on Malignant: ““Like some basic-ass dude you meet at a party who likes to brag about how crazy and dark his sense…” Jan 21, 09:07
Mr. Majestyk on Malignant: “So I watched this one again, and it’s still good and definitely a step in the right direction for mainstream…” Jan 21, 08:24
Zed on The Quick and the Dead: “Missed this one when it came out but watched it tonight because of Vern’s review. Feels like a stone-cold classic…” Jan 20, 22:40
Zombo on The Quick and the Dead: “I love this movie. Love it. I’m a Western fan in any event, but a Sam Raimi Western? Starring Sharon…” Jan 20, 22:01
Broddie on The Quick and the Dead: “Thanks for the heads up neal. I always keep the film mode feature on on my tv so hopefully that…” Jan 20, 18:09
VERN’S “I RECOMMEND THE SHIT OUT OF THIS PRODUCT” CORNER:
You know how it is, you love Clive Barker-based movies but you’ve seen HELLRAISER, NIGHTBREED, CANDYMAN and THE MIDNIGHT MEAT TRAIN a million times each, you’re not quite ready to try again on LORD OF ILLUSIONS, you even watched BOOKS OF BLOOD last year, but you want a little of that Barker movie kick, so it’s time for a Clive Dive. You gotta try some of the lesser ones out, see if you missed a good one, or if one you didn’t like back in the day is any better than you thought at the time.
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 
An obscure kind of conspiracy: NIGHT OF THE LIVING DEAD
Hollywood George Romero is not my favorite George Romero, but he’s the most underrated one. With THE DARK HALF (1993, but shot in ’90 and ’91) he’s still filming in Pennsylvania (portraying Stephen King’s Castle Rock, Maine), but funded by Orion, with enough of a budget ($15 million) for Academy Award winning movie star lead Timothy Hutton (
After two years I was finally starting to get used to a post-Wes Craven world – now all the sudden we Fangorians find ourselves heading into Fall minus George Romero and Tobe Hooper, two of the largest shadows in horror. Like Craven, both of them made an iconic horror classic early on, and remained primarily in the genre for their whole careers, delivering many other gems across multiple decades. Romero’s 
I think 
“WE WHIPPED ‘EM AND WE GOT IT ALL!”
I still love the original NIGHT OF THE LIVING DEAD, a nice, moody little cinematic play about differences of opinion between strangers hiding out in a farm house during the first ever worldwide zombie epidemic. I believe I watched it Halloween night of 2012 and I realized I’d kind of worn it out, it was too burnt into my brain and I’d need to take a break from it for a few years at least so I could appreciate it more next time.
“Hey, I didn’t think SURVIVAL OF THE DEAD was all that terrible. Just not very good.” That’s what I told my buddies who had seen it before me. They were surprised and appalled.
