Rating: B+/ Train to Busan delivers on it’s initial promise of being an exhilarating thrill ride and breathing new life into the zombie genre, but it also succeeds at that what you’d least expect- having a surprisingly touching human element. In this South Korean import, Seok-Woo (Gong Yoo,) a workaholic and absentee father, goes on a train journey with his young daughter Soo-an (Kim Su-An) to take her to her mother’s houseĀ for her birthday. Continue reading Movie Review: Train to Busan (2016)
Rating: C+/ The best thing you can say about Wyrmwood: Road of the Dead is that it makes the best out of a relatively small budget and is not nearly as bad as it could have been. That might seem like faint praise indeed, but in the annals of low-budget zombie horror, it is easy to offer this movie more leeway than it deserves. Yes, the sets, the costumes, and the action sequences are not nearly as cringe-worthy as other films of it’s kind and it is actually an entertaining, if not indispensable, watch for the first forty-five minutes or so, before it gets increasingly silly and crashes and burns at it’s blood-splattered finale. Continue reading Movie Review- Wyrmwood: Road of the Dead (2014)
In “Fido”‘s candy-colored, whimsical 50’s-esque Ā world, zombies are obedient servants of mankind and as gentle as a family dog- just keep those pesky electronic control collars turned on so your faithful friend stays domesticated and servile! Zombie-phobic Bill (Dylan Baker,) haunted by the years when the undead ran rampant before the collar was invented, is not pleased when his ditzy wife Helen (Carrie-Anne Moss) brings home ‘Fido’ (Billy Connelly,) aĀ amiableĀ walking corpse to serve their every need.
Timmy (Keysun Loder,)Ā their son, quickly makes friends with Fido, but Bill’s worst fears are realized when Fido eats Timmy’s crotchety old next-door neighbor Mrs. Henderson (Mary Black) in a freak accident. But, gee, Mrs. Henderson wasn’t a very nice old bird, and Timmy is determined to keep his best pal there at home with him, where he belongs, and is willing to cover up Fido’s kill and the carnage that follows.
“Fido” is very funny, cute and charming (in a dark, sweetly diseased way,) and a wicked satire of 1950’s manners and customs. I honestly don’t know why it didn’t get more attention at the box office. The costumes and sets are eye-poppingly colorful and stand sharply in contrast with the decomposition of the monsters. And Billy Connelly- who knew that an actor could make his character of an occasionally flesh-eating zombie a lovable and empathizeable character?
I’ll admit it, guys- I was rooting for ‘Fido’ to get away with his massacre of the next door neighbor all the way through. With a masterful mix of body language and facial expression, Billy Connelly creates perhaps the only zombie worth squeeing in adorableness for in the history of cinema. If you’re anything like this slightly wacked viewer, by the end of this movie you’llĀ want to envelopĀ Fido in a warm hug- cautioning, of course, that his collar is fully functional.
Carrie-Anne Moss and Dylan Baker are a riotous pair as they provide a send-up of 50’s values with a dark and homicidal twist. Tim Blake Nelson delivers as a oddball neighbor with anĀ overlyĀ familiar relationship with his female zombie (it’s not like it’s necrophilia… right?) If “Fido” pales in one respect, it’s that zombies are an overused cultural icon and it seems to dim slightly in comparison to the truly great zomcoms like “Shaun of the Dead.”
It’s not particularly novel in terms of it’s themesĀ themeĀ (either as a satire of nondescript 1950’s suburbia or a comedy featuring zombies as some of it’s mainĀ players,) but it delivers on it’s oddball premise with some great gags and jokes. There’s an uncannyĀ weirdnessĀ lurking behind it’s goofball amiability- maybe this outwardlyĀ sillyĀ satire is darker than it lets on. But the inherent corniness of the violence- like a wacky midnight movie- ensures that “Fido” should be enjoyed by viewers of twelve and up- especially those who are seasoned on slightly edgier horror fare.
You may have overlooked this movie when it passed through theaters (not with a bang, but with a slightly piteous fizzle,) but “Fido” has the potential to become a cult classic if it gets attention with lovers of cheesy horror and slightly subversive cinematic oddities. It’s dry, dark humor earns it a place in my heart- even if it’s not as memorable as “Shaun of the Dead” or even “Zombieland,” it’s the little movie it could withĀ some actual thoughts in it’s twisted little head- a sad rarity in modern horror. ForĀ an opportunity to root for the zombies and their unholyĀ cravings, watch “Fido.”
Oh, will someone think of the (zombie) children? š
“The Girl With All the Gifts” is about twice as good as you’d expect a novel about a wide-eyed, sensitive, lesbian zombie child with an off-the-charts IQ to be.
At first the premise threw me off- call me a traditionalist, I but I think of zombies as shambling wrecks of people who moan and groan and have absolutely no qualms about eating human flesh. They do not think, reason, and enthuse about Greek mythology. A precocious zombie tyke with a nagging conscience? Puh-leeze (to be fair, there were some of the voracious mindless variety of undead in this book too.) But further on through this odd but innovative book, I’ll be damned if I didn’t fall in love with little Melanie and her benignly waffling ‘should-I-shouldn’t-I ‘ approach to cannibalism.
Melanie isn’t like other kids, but that doesn’t stop her from trying to make connections as she navigates a cell block where she is kept prisoner in post-apocalyptic Britain. During the breakdown, millions of people died from a rampaging fungal infection and were suspended in a middling state between life and death, These ‘hungries’ soon wiped out the majority of the population, and the remaining British population has either holed itself up in the crime-ridden city of Beacon, escaped to a large research facility, or become a vicious, feral ‘junker.’
Then there are the ‘others,’ children who incongruously are neither Hungry nor human, but straddle both worlds and are used as experiments by the cure-seeking government. Enter Melanie, a bright, clear-eyed girl who loves her kind, lovely teacher, Miss Justineau (although this infatuation is less lust than hero worship.) In truth Justineau is there to gauge the children’s intellectual capabilities to prepare them for dissection, but she has grown to quite like her zombified, studious little pupils, especially Melanie, a strange child whose intelligence is only matched by her eagerness to learn.
Melanie dreams of saving Mrs. Justineau and whisking her away from the awful research facility, but it is Justineau who saves Melanie from going under the knife on the cold operating table of evil scientist and uber-bitch extraordinaire Caroline Caldwell- just in time for a devastating junker attack. On the run from junkers and hungries alike, Justineau, Caldwell, Melanie to two military men named Parks and Gallagher escape in an RV, intent of staying away from the evil that has consumed their base. Meanwhile, Melanie tries her hardest not to succumb to her cannibalistic desires.
Even Miss Justineau would be on the menu, and nobody wants that, least of all Melanie. While Parks and Caldwell seem to be somewhat archetypical (Parks is a hard, brutal military man, while Caldwell will do anything in the name of science- even dissect zombie children without anesthesia,) Justineau comes off as just plain naive at times, balking at the idea of Melanie being restrained despite Melanie’s intense yearning to devour human flesh (you can’t do that! She’s a child! How would you like to be tied up if you were a homicidal cannibalistic zombie child?”)
The book is pretty well-written, with a handful of decent metaphors and a rich vocabulary, and Melanie herself is a compelling character, once you get past her distinctly non-zombie-like affect. The science is studied- a little too studied, in my opinion; the passages on the contagion get a little long winded- but the upside of this is that the virus and it’s effects are frighteningly and acutely believable. Despite the fact that several of the main players are slightly stereotypical, “The Girl With All the Gifts” has fairly good character development, especially considering it’s genre (sci-fi/horror) and the author’s background (mostly comic books.)
Most of the novel is exciting and fast-paced, with lots of fight sequences and scenes of horror and gore, but it ultimately has it’s heart in the right place as well as teeth bared at your throat. Containing scenes of both touching tenderness and biting social commentary about those who are only considered worthy as far as they can help us move forward in society- in the name of science and otherwise, “The Girl With All the Gifts” is an easy read, but by no means a brainless one (no pun intended.) It’s intense, compelling, and sometimes scarily plausible.
A note on the movie- Hearing that Paddy Considine (“Dead Man’s Shoes,” “My Summer of Love”) was going to be in the film adaptation is the best news I’ve heard all week. But I’m a little puzzled as to why Miss Justiineau (portrayed as a black woman in the book) will be played by Gemma Arterton (“The Disappearance of Alice Creed,” “The Voices,” a lily-white actress. I like Arterton, but cannot fathom her playing a character that was written to be African-American.
Likewise, Melanie (who was described as ‘very fair’ within the first few sentences) and Gallagher (who was supposed to be a ginger) are played by African American actors. I mean, what the fuck? I know I’ll get flack for this (mix it up and all that,) but can’t the characters stay within the races the author assigned for them? Just a thought. Nevertheless, I eagerly anticipate this movie and hope it can live up to the the potential the book established. 
“Zombeavers” is an predictably cheesy and surprisingly entertaining gorefest, and emphatically, and maybe thankfully, the only film of it’s kind- a cheerfully over-the-top horror-comedy about raging homicidal zombie beavers. Yep. Let the beaver jokes commence. It seems to be in the same vein as low budget bloodbaths such as “Evil Dead 2” and “Dead Alive,” but this film is in a category of it’s own- it’s literally so bad it’s good, a hypnotic disaster that has to be seen to be believed.
The dialogue is atrocious,the characters are inane, the animatronic aquatic rodents from hell who can reason- and plan an oncoming attack- are shit, and I enjoyed every minute of it. Saying that this movie doesn’t take itself too seriously is an insult to movies that scrape the bottom of the barrel for cheap gags. But it achieves it’s purpose, to make the lowbrow viewer laugh. Oh, and I laughed. I don’t think the question even has to be raised whether I was laughing with it or at it, but I left the movie in a good mood, and there’s something to be said for that.
The ‘plot’- a group of three college girls go out on vacation to get one of the young women’s (Lexi Atkins)’ mind off a messy break-up. They are met at the cabin by their respective boyfriends (and the heartbroken girl’s ex) for a weekend of skinny-dipping, booze, and sex – maybe not in that order though. Sound familiar? But that’s where the fun (and the similariites to countless other horror movies) end.
You see, barrels ofĀ bright green nuclear waste has been dumped on the dams of some easy-going beaver families, and the mother-fuckers have gone bad- they’reĀ out for blood. They’re not just beavers, they’re Zombeavers and they will have their revenge. These kids don’t have a brain among them- it takes them half the movie to remember that beavers can chew through wood. All they care about it boobs, broads, and, in case of the lasses, dick. So it proves to be entertaining to watch them die by being gnawed to death by normally docile rodents.
The acting is exactly what you might expect for this kind of movie. The actor who plays the supposedly straight Buck (Peter Gilroy) acts gay as fuck throughout (although he does deserve brownie points for keeping a straight face while screaming “I feel like a power ranger!” mid coitus.) Meanwhile, the actress who plays his girlfriend (Cortney Palm) sporadically picks up and drops her Southern accent as frequently as a bad case of clap.
Of course, they’re not playing in a rendition of Shakespeare’s “Othello.” And in a movie like this, bad acting is pretty much part of the deal. And, well, I must admit (bad. bad philistine that I am) that the sight of those goofy animatronic beavers alone were enough to make me explode into gales of laughter. They’re so quaint, in a bloody, gross way. So it comes down to this. If you like bad movies, really bad movies, really really bad movies, you might enjoy this. If you are a lover of film as fine art and want to keep your pride, and more importantly, your sanity, stay far, far away. You know who you are, bad movie lovers. “Zombeavers” is a banquet of cheese, and depending on your taste, it could be a joy to partake.
I didn’t expect much from this movie, but a family member rented it and I decided to watch in hopes that my fears would be unfounded and I would be exposed to a hidden gem. How very wrong I was. “Life After Beth” is dreadfully bad, an utter misfire on every level and a mediocre experience even if you lower your expectations exponentially.
“Life After Beth” is pretty much the 2004 horror-comedy “Zombie Honeymoon” except with the gender roles reversed and way, way worse. On paper it looks acceptable enough- what can go wrong with a cast like this? (I take that back, John C. Reilly was in the turd-tastic “Step Brothers.” But hey, “Magnolia!”) All I could think about towards the end was how surreal it was that Paul Reiser was in this and “Whiplash” the same year (the difference? “Whiplash” was actually good.)
Zach (Dane Dehaan) is an uninteresting young man whose girlfriend, Beth (Aubrey Plaza,) has recently died from a snakebite accident. So when Beth comes back with a voracious appetite for human flesh and a proclivity for smooth jazz (wait… what?), Zach isn’t ready to deal with the consequences.
While Beth’s mom and dad ( Molly Shannon and John C. Reilly) are determined to keep Beth’s death a secret from her (she doesn’t remember anything, and doesn’t show signs of decomposition immediately,) Zach’s parents (Paul Reiser and Cheryl Hines) and gun-toting security guard brother (Matthew Gray Gubler) are no help at all, and Zach is left on his own trying to reconcile his feelings for Beth.
“Life After Beth” could have been a devastating drama where the grieving Zach tries to cope with Beth’s rebirth, along the lines of the TV series “The Returned.”Ā Or it could have been a hilarious zomedy similar to “Shaun of the Dead.” Instead it is neither. It is nothing. It is obsolete. It walks the line between comedy and drama (cheesy, but with few real laughs) and accomplishes nothing. It makes no lasting impression except to remind you occasionally how painfully bad it is.
The humor is just awkward (involving Beth throwing things and growling a lot and undead sexual aggression- always a laugh riot) and the drama disappointingly half-baked. Despite the star-studded cast, the movie features half-assed acting jobs all around. Dane Dehaan was an outright bore. With a lead who doesn’t seem to take the movie seriously, why should we? As for the make-up, my dad did a better job on my Halloween costume using about $20 worth of resources.
“Life After Beth,” is quite simply a pointless waste of time. It’s impossible to care about any of the characters because they’re so one-dimensional and a ending that should have been tragic (or funny! Or interesting! Anything!) just falls flat. I wouldn’t even recommend for die-hard Aubrey Plaza fans to watch this. It’s shit, and that’s a shame because there are way better horror/comedy films out there and this could have been one of them. Avoid this suck-fest at all costs.
A rule of thumb- after your daughter’sĀ newly resurrected cat comes back ‘stunted,’ 99.9% experts would advise you against burying yourĀ kid in the same Godforsaken place and in hopes that he will return from the dead as well. But that doesn’t stop Louis Creed, does it?
Believe it or not, this is my first Stephen King, though frankly I was a tiny bit disappointed at what I found to be solid yet somewhat overhyped prose. Don’t get me wrong, King has a great story to tell and some interesting commentary on grief and the dangers of meddling with the unspeakable, but I found the writing in general to be a bit underwhelming.
First, let’s dig into the premise itself- family man Louis has a loving wife, Rachel, and two great kids, Ellie and Gage. Together they move to a small town in Maine and Louis strikes up a friendship with grizzled local Jud Crandall. The damper on their otherwise happy life- the creepy burial ground built by the Micmacs years before unnervingly close to Louis’ property.
This is not the eponymous ‘Pet Sematary’, but a site relatively close behind it. Once the haunted locale gets hold of Louis, all bets are off (a string of disasters follow soon thereafter.)Ā Despite Jud triying to convince Louis that ‘sometimes dead is better’ in the wake of tragedy, Louis in compelled to meddle with things that are not to be meddled with- with predictably horrific results.
In the dark, dank world of “Pet Sematary,” the beautiful, the natural, the wholesome can all be taken away with a domino effect of chaos. Stephen King does a pretty good job of playing on ourĀ basest fears, and on the inside the very old hardcover copy I read it said that this book was the one that Stephen King himself had trouble finishing.
I don’t know if this was legit or a marketing ploy- I didn’t think the book was that shocking, but I guess it’s different if you’re a parent of a small child (considering the gruesome death and reanimation of a very lovable child character.)Ā However, I had some problems with the writing.
I hate repetition in proseĀ when there isn’t a good reason for it, and there was lots of unnecessary repeating of words and phrases here- the nonsensical utterance of “Hey ho, let’s go” (I know it’s a line from a song, but what the hell does it have to do with anything in context, anyway?) Every so often Louis would think something ‘randomly’ or ‘stupidly,’ or refrain from bursting into hysterical, horrified laughter at the drop of a hat.
How often does one burst into maniacal laughter, I wonder? IĀ was alsoĀ driven toĀ interpret momentsĀ in the story in a totally inappropriate way. For instance, I found myself feeling sorry for Church (Ellie’s cat, who returns from buying the farm only to be kicked around by the repulsed Louis) and disturbed by the portrayal of Rachel’s disabled sister Zelda as a deformed, evilĀ freak.
I found this book a little overlong at almost 400 pages, even though it’s one of the shortest books Stephen King wrote (!) To be fair, I was having a lot of mental health problems at the time, including repetitive re-reading, one of the staples of my OCD diagnosis. Now I’m wondering if I’m ever going to read that “Under the Dome” book I bought cover to cover.
Now, for a question for readers- is the “Pet Sematary” Ā worth watching? Also, what Stephen King books would you recommend to a newbie?
Zombies are a source of fictional terror when you’re shooting themĀ down “Walking Dead”-style. But what about caring for an undead family member- a spouse, a sibling, a child- when you suspect that there’s spiritually nothing left of themĀ anymore? What would you risk- with the government swooping in to confiscate your dead and take them to aĀ containmentĀ unit- if you had the tiniest iota of reason to believe that what they were when they lived was somewhere within them, waiting to be coaxed out?
This is the chilling premise of “Let the Right One In” author John Ajvide Lindqvist’s intriguing take on the zombie genre, “Handling the Undead.” Husband, father, and stand-up comic David’s worst fears are realized when his wife, Eve, is killed in a car accident. But things start to get seriously weird when Eve gets up- after being pronounced dead- and astounds the institute’s doctors.
Similar cases occur all over Sweden, where the dead wake in morgues or in their graves, suddenly alive, and initially harmless, but changed- shells of their former selves. Most of the book is focused on how the citizens deal with their feelings of grief and horror at this shocking occurrence.
Morbidly obese sadsack and newspaper reporter Gustav Mahler rushes to unbury his deceased grandson, Elias, while telepathic widow Elvy (Christian grandmother of a similarly gifted, emo teen, Flora) is reluctant to accept her newly-zombified husband into her life. As it is revealed that the living can read each other’sĀ thoughts while in the company of the undead, causing further discord, the government frets about what to do about the socially marginalized hoards.
I actually liked this book better than Lindqvist’s previous novel, “Let the Right One In,” but not nearly as much as the Swedish film adaptation. I found this book easier to read because there were not as many extraneousĀ characters and subplots as the former (although, to be fair, “Handling the Undead” also had a rather abrupt ending.) The characters in “Handling the Undead” range from pretty well-developed (Flora and Elvy are the highlights of the book) to hardly developed at all (Mahler’s daughter, Anna, who mostly comes of as a passive-aggressive bitch) but for the most part the cast is pretty interestingly written.
The horror of the initial premise, pays off here, with lots of gooey descriptions of zombie guts and decomposition. However, there is also a definite element of tragedy at play as well, as families struggle to cope with their loved ones’ changed natures. There seems to be an undercurrent of political commentary too. The dead (charitably called the ‘reliving’) are shuffled of to a sterile environment and are not exempt from experiments carried out by eager medical personnel.
Like the very sick and disabled, the undead are a problem society simply does not want to deal with. The solution- make theĀ problem go away. This serves as a potent (though decidedly non-PC) allegory. However, I did not like the direct connections drawn between the undead and people with Autism.
Apparently “Handling the Undead” is going to become a TV series, which I am somewhat excited for. I suspect some of the gruesome details (such as the child, Elias’ horrific appearance,) will be gussied up or omitted completely for the sake of so-called ‘good taste’ (on the other hand, the film “Let the Right One In” did fine without the zombie-Hakan attempted rape scene or the icky details of Hakan’s pedophilic escapadesĀ from the book.) Also, can we expect a forgettable U.S remake?
To be truthful, I like funny-zombies better than serious-slash-scary-zombies. That said, I enjoy serious zombie stories (such as “The Walking Dead” or “The Returned”) if it has that special somethingĀ (intriguing characters, genuine scares, or a vitally new take on the familiar story of a worldwide epidemic.) As it so happens, “Handling the Undead” has a little of that something. And I never (I mean never) read horror fiction, but count Lindquist on my radar.
Attention, horror fans! The zombie genre has been revived. I have always found dramatic/’realistic’ zombie films and shows to be inferior to the funny ones (I do not find “The Walking Dead” or “28 Days Later” to be better than “Shaun of the Dead,” for instance.) Okay, I still don’t think this measures up to “Shaun of the Dead,” but “Les Revenants” is kind of invigorating the way the tosses the zombie genre on it’s head. Gone are the zombies that go ‘brains-brains’ and limp along on broken legs and out of sight are the brainless, running, ravenous creepers from “28 Days Later” and countless survival-horror video games.
What’s special about “Les Revenants” is the way it strikes at the emotional heart of the matter. You are forced to feel for the ‘zombies,’ who do not know they are dead at first, and who are often greeted by the living with apprehension and horror. In a small French town surrounded by a mountainous region, the citizens are coming back from the dead, fresh, and seemingly alive and well. Young Camille (Yara Pillartz) arrives home from a bus wreck that put her schoolmates to permanent rest, only to find that years have passed and her twin sister is now grown.
Lonely lesbian Julie (CĆ©line Sallette, ) single and a survivor of a sadistic attack, takes in a mysterious little boy (Swann Nambotin.) But how innocent is he? Ā Meanwhile, happily married Adele (Cotilde Hesme) is visited by her dead fiance (Pierre Perrier) and hefty bartender Toni (GrĆ©gory Gadebois) tries to keep his unhinged brother’s body count under check.
The approach here is quite different- the show is more artsy and laid-back than the more frenetic tales of it’s kind, but if there’s one thing for sure, it’s never boring. Mysterious plot-lines abound; secrets lurk in the souls of the most open-hearted characters. Ā Some details are puzzling and other’s don’t make sense at all (akin to the twists and turns of “Lost”) and I hope the show doesn’t get overloaded in it’s second season. Ā There’s certainly flashes of brilliance in this script.
The acting in the show is very powerful, and reinforces the ‘real’ approach to the premise. This is not the show for you if you want muscle men blasting away zombies with uzis, but PATIENT viewers will find a lot to love as the plot slowly unfurls. Ā My favorite character died in the last episode, but I’m convinced he’s not gone for good, and that I will see him in the 2nd season.
If you like your zombie stories serious and pensive, with an emphasis on creepiness and mystery rather than guts ‘n gore, “Les Revenants” should quench your thirst for an alternative zombie thriller. Ā This and”The Walking Dead” are both great, and I love them in different ways, but this wins for me- by a hair. I for one can’t wait until Sundance Channel broadcasts the second season. One to watch as soon as possible.
Although George A. Romero’s influential cult classic must have been terrifying for it’s time, the years have rendered it rather mild and outdated. Still, “Night of the Living Dead,” Ā which was filmed on a shoestring budget of $114,000, serves as an interesting study of peoples’ reactions to a crises and the necessity of action during a devastating event. Furthermore, it interestingly casts a black man in the leading male role, which was quite daring for it’s time.
Fragile Barbra (Judith Dea) makes a visit to her father’s grave with her perpetually complaining brother Johnny (Russell Streiner) when a strange man attacks them. Managing to escape alive (Johnny was not so lucky,) Barbra becomes holed up in a farmhouse, and soon renders herself obsolete due to suffering a complete mental breakdown.It is there that she meets Ben (Duane Jones,) a fellow survivor of what turns out to be a zombie attack.
The movie works best with just Barbra and Ben, who represent two opposite approaches to a crisis. Ben is a kind person but still a survivalist, and has no time for Barbra’s weakly grieving. Barbra is consumed by guilt for leaving her brother, and turns to Jell-O almost immediately, while Ben thinks on his feet and begins to barricade the windows and doors from the approaching ‘ghouls.’
However, when a group of fellow survivors come, this film becomes a bit boring. The most asinine of the survivors, played by Karl Hardman, overacts almost constantly, and listening to the group argue becomes tiresome. Meanwhile, a lot of the violence seems fake (when one character punches another, it sounds like a balloon popping.) The character dynamics are much more interesting when it’s just the two heroes.
You may find yourself laughing at certain scenes, which lack the intensity of “The Walking Dead” but also the tongue-in-cheek self-awareness of films like “Dead Alive” and “Shaun of the Dead.” Yes, in many ways it’s the film that started it all (though “White Zombie” starring Bela Legosi, unwatched by me, came first,) but it pales in comparison to many modern zombie stories. However, I liked how the zombies were not totally stupid and could use tools.
The acting overall wasn’t great (best from Duane Jones and Judith O’Dea, the leads) and the the special effects are dated (although it’s interesting to see how people improvised using practical effects before the era of CGI.) The movie was fun but not particularly disturbing or scary, except for the scene involcing the mother and her daughter (no spoilers.) I wonder how they got away with that.
I may have been shocked by the death of my favorite character at the end, but my psychiatrist had already spoiled it for me (damn you man!) For those who have not been informed of the ending, it will be unexpected and sad. This is an important film for all horror fans and zombie lovers to see, but it isn’t technically great in comparison to later horror flicks. I didn’t love it, but I’m glad I saw it.
The Cinematic Emporium 