Evil Dead
Enemy of the Gospel
just so you don't think I'm making stuff up about a movie I havn't seen..........
Few of the original movie's political and philosophical preoccupations (abortion, capitalism, patriotism, individualism) remain. Instead, the remake feels like the product of the PlayStation era. At some point, the gang discovers that the only way to destroy their relentless assailants is to aim the gun above the neck. So a fresh shooter is always instructed to ``aim for the head!'' All that's missing are crosshairs.But the movie is weak on attempts at survivalist philosophy (anyone bit by a zombie is likely to become one). Even the religious overtones feel tinny and unpronounced. But it is well-schooled in the dynamics of sitcoms and television dramas. Love stories and mea culpas abound.
Things get interesting in the closing minutes, though. Someone picks up a camcorder, and ``Dawn of the Dead'' comes down with an inspired, chilling but cheap case of ``The Blair Witch Project.'' The ultramodern gear change is risky but too much too late. How much harder to shake would this film have been had it switched formats at the halfway point?
Video might just be the final frontier for horror, which is too junked up with noise, formulas, and the witless bravado of mediocre directors to matter anymore. It's how thousands of amateur home-moviemakers capture immediate reality. Exploiting that ``amateur'' technology to spook us is a stroke of brilliance, conveying an end-of-the-world darkness in a format we associate with truth. This is an idea grasped by both the makers of the smarter, more rigorously structured ``28 Days'' and the boys behind ``Blair Witch.''
``Dawn of the Dead'' is afraid to commit to a similar mood of digital doom, however. In the end, it's no substitute for either of those movies or, even more so, Romero's own idea of rancid humanity.
Wesley Morris can be reached at [email protected].
http://www.boston.com/movies/display?display=movie&id=2652
BY ROGER EBERTThe contrast between this new version of "Dawn of the Dead" and the 1979 George Romero original is instructive in the ways that Hollywood has grown more skillful and less daring over the years. From a technical point of view, the new "Dawn" is slicker and more polished, and the acting is better, too. But it lacks the mordant humor of the Romero version, and although both films are mostly set inside a shopping mall, only Romero uses that as an occasion for satirical jabs at a consumer society.
The 1979 film dug deeper in another way, by showing two groups of healthy humans fighting each other; the new version draws a line between the healthy and the zombies and maintains it. Since the zombies cannot be blamed for their behavior, there's no real conflict between good and evil in Zack Snyder's new version; just humans fighting ghouls. The conflict between the two healthy groups in the Romero film does have a pale shadow in the new one; a hard-nosed security guard (Michael Kelly) likes to wave his gun and order people around and is set up as the bad guy, but his character undergoes an inexplicable change just for the convenience of the plot.
http://www.suntimes.com/output/ebert1/wkp-news-dawn19f.html
"Dawn of the Dead" is a big-bucks remake of George Romero's grisly 1978 horror classic about a zombie army besieging an all-American shopping mall. But despite a big budget, lots of technical flair and a good cast headed by Sarah Polley and Ving Rhames, it's mostly a bloody mess.Romero's movie was both scary and satiric, but this reprise, directed by British TV-ad wiz Zack Snyder, is neither. It's a blood-spattered zombie of a picture, almost as violent, soulless and drenched with gore as the undead mob that keeps trying to break into the movie's super-mall to kill the cliched characters inside.
For an hour and a half we watch this loony crowd, both living and dead, being stabbed, shot, skewered, bitten, run over and blown sky-high, after a plague of zombies mysteriously overruns Milwaukee (re-created in Toronto). Both the movie and the epidemic strike with unnerving speed.
One day, a zombie turns up in the local hospital. The next morning, wide-eyed nurse Ana (Polley) sees both hubby and child turn into zombies as well. Fleeing, she barely gets out of her neighborhood alive.
Soon, Milwaukee and its suburbs are in flames, and Ana and a few other survivors, including surly cop Kenneth (Rhames) and brainy Michael (Jake Weber), are holed up in the local mall. Outside, a ravenous mob of the undead creates a living hell.
The movie is hell to watch too. Some of the characters - Ana, Kenneth and Michael - are heroic.
Some are craven or villainous, like tart-tongued rich creep Steve (Ty Burrell) and, initially, the mall's three macho security guards, led by sullen CJ (Michael Kelly). Some are tragic, like the desperate couple (Mekhi Phifer and Lindy Booth) trying to save their unborn, undead zombie baby.
Living or dead, the characters, concocted by "Scooby Doo" scribe James Gunn, behave predictably and senselessly. One can excuse the zombies' stupidity, milling around in the parking lot, crashing against shatterproof doors. But the non-zombie characters are almost as bad. Why do they spout nonstop nonsense; run off, unprepared, to investigate mysterious noises; and show so little interest in cell phones or radios, beyond local calls?
Meanwhile, more zombies and even a dog sneak in and out of the mall. Nearly every plan the humans cook up fails, despite the fact that their opponents are brain-dead. Indeed, in this movie, having no brains seems to be an advantage.
Rhames still packs a mean glower, and Polley sports a nice anxious stare. And though director Snyder is good with action choreography, and with crane and helicopter shots, the overall effect is both gruesome and numbing.
Back in 1978, Romero, making a sequel to his low-budget 1968 gem "Night of the Living Dead," spent a lot more time than these filmmakers on setup and plausibility. Romero wanted us to believe, on some level, in the gory little world he was creating. He was able to give us a good, scary ride and make funny, nasty jibes at consumer culture and '70s nihilism.
Snyder and company just seem bent on taking us for a bloody ride. This "Dawn" doesn't try much for satire. It just goes for the gore and, even if most of the cast is eventually put out of their misery, the audience is less mercifully handled, even at the end credits, the most violent and annoying I've seen recently. Sometimes even death - or the end of a bad movie - is no release.
http://metromix.chicagotribune.com/movies/mmx-040318-movies-review-mw-dawnofthedead,0,6430971.story?coll=mmx-movies_top_heds
I find the bold text of that last review rather ironic.......as Romero himself states on the Dawn dvd commentary that he wrote the script in three weeks while in Italy as a guest of Dario Argento. He didn't even care about the characters......he said he didn't care about that stuff. He was making a movie about something......he started with the themes he wanted to underly the entire movie, then went back and threw characters and plot devices around the themes.
The general consensus is that the plot of these two movies are in no way the same. Romero made a movie satirizing our society whereas the new movie is just a cool blood and guts straight up zombie flick with no real underlying theme. Basically....eyecandy. I shall see it tomorrow and judge for myself.