dawn of the dead Tagged Articles at Cinematical

As Spin-ematical alerted you earlier today, the cinematic wonder that is Paul Blart: Mall Cop is now available on DVD and Blu-ray for our movie-loving paws. But that doesn't mean we want it. (I hope!) Why go for the "harmlessly humorless" when you can revel in true commerce comedy?

There are a number of better options to satisfy your yearnings for officers of the shopping law and mall mayhem. Most of them are funny, one is downright scary, and all offer something both entertaining and worthwhile. And that's the key -- isn't it? Being entertained without feeling like we've been lobotomized?

Read on for my selections, and be sure to comment with your own favorite mall mayhem movies. Beware: some of the following clips are full of f-bombs and adult language, so NSFW.

(As a way of welcoming my very favorite month of the year, I thought it would be fun to reprint one of the very few good articles I've ever written. So here it is!)

By: Scott Weinberg

House of Wax, starring Paris Hilton. The Fog, starring Wooden Superman. The Amityville Horror, starring Van Wilder.

Yep, it's tough to be an old-school hardcore horror fan these days, what with all the really atrocious remakes that keep flopping off of the studios' assembly lines. (If you paid money to see When a Stranger Calls, you're either one devoted horror fan -- or a really bored high school kid.) But since the Horror Fan is nothing if not loyally optimistic, we trudge off to each successive remake with a small kernel of hope -- maybe this one won't suck the proverbial egg. So while it's perfectly logical for a passionate horror geek to throw up his/her hands and shriek "Ack! Horror remakes! They all suck!!" -- the simple truth is that they don't all suck. The good ones are just pretty darn few and far between.

7. Night of the Living Dead (1990)-- Splatter-master Tom Savini got the chance to direct his own remake of Romero's all-time classic back in 1990, and -- whaddaya know? -- he did a pretty solid job of it! With extra gore dripping from the floorboards and the presence of genre favorites Tony Todd & Bill Moseley, this re-visit came long before the Remake Renaissance, but I think it still holds up pretty well today.

A friend of mine emailed this morning with a link to this site and one simple question: "Which t-shirt are you buying?" After checking out said website, the question then became: Which t-shirt am I NOT buying? Over at Last Exit to Nowhere, they specialize in creating movie t-shirts. Ah, but these aren't just your run-of-the-mill shirts, see -- they're so much better. The site's intro description says it's "home to a collection of unique shirt designs which are inspired and pay homage to some of the most memorable places, corporations and companies in modern fiction – from the sunny shores of Amity Island (Jaws) to the frozen climes of Outpost #31 (The Thing)."

Oh yes, that's the Little Lebowski urban achievers t-shirt to the right of your screen; they also have shirts for Hudsucker Industries (Hudsucker Proxy), Skynet (Terminator series), Shawshank State Prison (Shawshank Redemption), and much more. Then there's the random shirts like the Stovington Academy shirt Jack Nicholson wore in The Shining, a Polymer Records shirt from This is Spinal Tap, and a shirt wearing the logo of the fictional TV station from Romero's Dawn of the Dead. Insanity, I tell you! So many awesome shirts -- honey, consider this month's paycheck officially blown. Check out all the shirts over at Last Exit to Nowhere ...

... and extra credit goes to the first person who can name all the films from the t-shirts pictured in the galley below (no cheating!).

Despite the slower-than-expected installation of digital projectors into theaters, yet another movie is slated to be released in digital 3-D (which of course requires digital projection plus additional equipment such as a special screen). According to The Hollywood Reporter, New Amsterdam Entertainment plans to re-release George Romero's 1978 zombie classic Dawn of the Dead into theaters after the film is modified, or "dimensionalized," to be shown in stereoscopic 3-D. The transition from 2-D to 3-D will be handled by In-Three, the company that handled George Lucas' presentation of a segment of Star Wars in 3-D at ShoWest back in 2005. The project is expected to be finished within the year. Romero's Dawn of the Dead, which New Amsterdam remade in 2004, will likely be only the second film to be re-released with a 3-D version, the first being The Nightmare Before Christmas.

As wonderful as it is, the original Dawn of the Dead seems like an odd choice for 3-D, which often capitalizes on the gimmick of having objects jump out at the audience. With this film, we'll instead get to see zombies ever-so-slowly coming towards us as we nonchalantly continue eating our popcorn without fear. Perhaps we'll even have time to head to the restroom before the zombies actually seemingly make their way out into the space of the auditorium. See, that was part of the humor of Romero's Night of the Living Dead sequel, that the characters had time to run in circles around the undead mallrats. It would be much more frightening to see a dimensionalized version of the remake, which featured much quicker zombies. Presently there appears to be no set release date for the re-release, but depending on how crowded the 3-D marketplace is a year from now, I'd guess New Amsterdam is hoping for a 2009 bow.

Diary of the Dead, George A. Romero's first independent zombie film in over 20 years, follows a group of student filmmakers who, making a low-grade horror film in the woods, drive back to civilization ... only to find it isn't there anymore. We watch the film unfold as footage they shoot travelling through desolate and deadly buildings, neighborhoods, towns, cities -- coming to grips with the fact that the dead are walking and hungry and everything they knew is over. Shot outside of Toronto, where Romero now lives (but, as tradition demands, set near Pittsburgh), Diary of the Dead played both the Toronto and Sundance Film Festivals; Scott Weinberg's review from Toronto can be found here, while Jette Kernion's review is here.

Writer-director George A. Romero spoke with Cinematical about his zombie film legacy that stretches back to 1968's Night of the Living Dead, his concerns about the possibilities and perils of user-generated media, which Presidential candidate he thinks would have the best handle on attacking armies of the dead, and the undying popularity of the undead he created. " (If) I created anything ... it was the "neighborhood zombie" ... the guy with Nikes and a sweatshirt. ... Neighbors are scary, and when they're dead they're a bit scarier. But once you have that, it's idiomatic ... I half expect the zombies to show up on Sesame Street hanging out with The Count. ..."

Cinematical: I've read several notes and quotes from you saying that Diary of the Dead essentially felt like a new beginning.

George A. Romero: For me, it was a new beginning; I made four zombie films before this, and they sort of tracked, they were along a single storyline, even though they were 10 years or more apart, each of them. And they were just getting too big. The last one (George A. Romero's Land of the Dead) was a studio-supported film, which, you know, I turned around and looked at it: They let me make the film I wanted to make, I loved working with Dennis Hopper and Leguizamo and people like that, but I felt the film and I had sort of lost connection with the origin of the series, which was a little guerrilla movie that a bunch of amateurs made in Pittsburgh all those years ago. And I wanted to go back to ... I wanted to see if I had the chops and the stamina to make a little guerilla movie. I happened to have an idea that I wanted to do something ... all of my zombie films have had this kind of socio-political satire underneath them, and I've always used them as snapshots of the time in which they were made.

I got an idea that I wanted to do something about emerging media, with the mainstream losing its power and Joe Blow from Oshkosh taking over on the blogosphere. And it all sort of fell into place. And I thought 'Well, I can make a little film, do it pretty inexpensively, about students who are out shooting a student film when the sh*t hits the fan, when zombies sit up and start walking around.' I said 'We can go back to the very first night, and we can try to pretend ' -- even though that was 1968 and this is now --- 'that this is the same first night, when this phenomenon first begins to happen.'

In the midst of all the speculation regarding the big-screen version of Watchmen, the musical score probably wasn't all that high on the list -- but it can be just as important. As any moviegoer knows, sometimes the music can make or break a movie (for a good example of how music can ruin a flick, look no further than The Perfect Storm or The Last Samurai). ComingSoon.net is reporting that Tyler Bates has been signed to compose the score for the film.

As any fan-boy can tell you, Watchmen is Zack Snyder's adaptation of Alan Moore and David Gibbons classic graphic novel. The story is set in a fictional New York in the 80s where "masked vigilantes" have affected the events of everything from the Vietnam War to Watergate. Over the last year, the rumors flew fast and furious about the cast until Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan and Patrick Wilson were all officially announced.

Tyler Bates started his career back in 1993, when he wrote the music for a sci-fi B-movie called Blue Flame. By 1997, he had already released his own album with his band Pet, but the album failed to become a hit and he has been in the movie business ever since. Bates has a long standing relationship with director Zack Snyder, having done the score for 300 and Dawn of the Dead. Snyder was quoted as saying that Baker's Bates' score for 300, "...moves the film into mythology cauterizing the images as you view them, making them something they could never be alone." So, I guess he is looking for the same kind of magic for the equally mythic story of Watchmen.

I love George A. Romero for what my Cinematical colleague Ryan Stewart does not -- the "symbolism bat," which allows Romero the freedom to use zombies to comment on whatever he wants. To me, that's a strength, not a weakness. Plus, Dawn of the Dead made me afraid of shopping malls, Day of the Dead made me claustrophobic and Land of the Dead made me wish I didn't work for a corporation.

His latest, George A. Romero's Diary of the Dead, debuted at Toronto and fairly well divided audiences. I've heard from supporters, detractors and those in the middle -- Scott Weinberg was on the positive side -- but I can't wait to see it for myself. And hey! Romero made it completely independently, so that's in his favor. Jason Morgan at AMC's Monsterfest blog points to Box Office Mojo, which lists a release date of February 15, 2008. (Our friends at Moviefone also have this release date.) However, neither The Weinstein Co. site nor the film's MySpace page confirm the date yet, so plan your life accordingly.

Another independent horror film just found its leading lady. Brittany Murphy has signed to star in the psychological horror flick 3:30 a.m., according to Variety. Murphy has dipped her feet into the horror pool in the past (The Prophecy II, Cherry Falls, arguably Don't Say a Word). Mick Davis wrote and will direct 3:30 a.m., which is "about a young woman who leaves Gotham after the death of her father to work in a country hotel." The film is said to explore "the connection between dreams and reality." Davis is credited as a co-writer of The Invisible, one of the worst-reviewed movies of the year, but also wrote the original Swedish version; he is currently filming Dylan, starring Kevin McKidd as the Welsh writer Dylan Thomas. 3:30 a.m. is scheduled to begin filming in January 2008.

Well, since it is Halloween after all, it makes perfect sense to get a little horror-related news. The Hollywood Reporter announced that Artfire Films and Romero-Grunwald Prods. have already given the go-ahead to a follow-up of George Romero's Diary of the Dead. This means they must be pretty eager considering the first film is not expected to be released until next year. Diary of the Dead centers on a group of young filmmakers in the middle of making a low-budget zombie flick who have the unfortunate luck of running into the real thing. According to THR, the sequel will focus on survivors from the first film, "Fighting their way out of a mansion through a horde of ravenous zombies, the survivors of "Diary" escape to a remote island only to be plunged into another battle with the dead".

So if you are not a fan of zombie movies (and I know there is at least one of you out there), it's going to be a rough year at the box-office . Only yesterday, Zack and Deborah Snyder confirmed that the follow-up to Dawn of the Dead now has a completed script and that they are on the hunt for a director. So we can add Diary of the Dead 2 to a growing list of films about the 'living-challenged' slated for 2008 (with my personal votes going to Brad Pitt's take on World War Z and the Vampire-Zombie hybrid, Virulents). Diary of the Dead is slated to begin principal photography this coming Spring.

You know, sometimes it's like the universe wants to prove you wrong. No sooner did I make one little offhand comment that Zack Snyder had probably abandoned his follow-up to Dawn of The Dead when his wife and producing partner, Deborah Snyder, tells Shock Till You Drop that Army of the Dead is alive and well (sorry, I couldn't resist). The script was written by Snyder and Awake's Joby Harold. Deborah Snyder summed up the story to Shock as follows: "Basically, something happened in Vegas and there was this huge outbreak of these zombies that were killing people...So to contain it they basically contain Vegas. The city is this wasteland with walls around it and all of these zombies are inside" -- and it could just be me, but that sounds awfully similar to Resident Evil: Extinction.

As we all know, Zack Snyder is hard at work on his big-screen version of Watchmen, and he will only produce the 'sequel' to his 2004 remake of George Romero's zombie classic. Deborah Snyder tells Shock that they are currently on the hunt for a director for the project, but that it is "...a little hard [to do] because we're here [on set] and every day is killer. We want the right person for it. The script has been turned in to the studio and they're really happy with it, with pretty minimal notes back, so they said, 'Hey, let's get a director.'" As soon as they do find their director, we'll be here to let you know who it is. Any ideas?

[via Justpressplay.net]

Zombies appeared in movies early on, in White Zombie (1932), I Walked with a Zombie (1943), The Last Man on Earth (1964), and -- to some extent -- Ed Wood's Plan 9 from Outer Space (1959). But the infectious, flesh-eating, undead creatures we know today originated in George A. Romero's Night of the Living Dead (1968). No other horror movie was such a cornerstone, breaking new ground for its time, establishing the hard and fast rules for an entire subgenre and remaining a much-copied source nearly 40 years later. On top of all this, it's actually a great film, and hardly dated at all. When I first saw it, all alone in a dark room late at night, it gave me the shivers. But it also gave me food for thought.

Many have studied the complex relationship between the film's human characters, all trapped in an abandoned house trying to survive the night. Barbara (Judith O'Dea), after losing her brother to a zombie, becomes nearly catatonic. She's like the child of this twisted family. Ben (Duane Jones) is the leader, and though Romero apparently hadn't written the role for a black man, he evokes echoes of the Civil Rights movement that was brewing at the time. Harry Cooper (Karl Hardman) is white, middle-class America, with a wife, Helen (Marilyn Eastman) and a daughter (Kyra Schon). And Tom (Keith Wayne) and Judy (Judith Ridley) are typical teenagers, hoping to get married and settle down. It's easy to see all kinds of social commentary within this group of characters and their behavior, but even without all that, the film works very simply as a dramatic clash of personalities.