Dawn of the Dead (2004)
March 18th 2009 00:11
"Hell is overflowing and Satan is sending his dead to us! Why? Because you have sex out of wedlock. You kill unborn children. You have man-on-man relations. Same sex marriage. How do you think your God will judge you? Well, friends, now we know. When there is no more room in hell, the dead will walk the Earth."
After Marcus Nispel’s re-imagining of The Texas Chainsaw Massacre (2003) came Zack Snyder’s re-envisioning of Dawn of the Dead (2004), and hardcore horror fans, especially zombie freakazoids, were frothing at the mouth and twitching uncontrollably. How could they possibly think of remaking George Romero's 1978 landmark gut-ripper?! I'll go out on a severed limb here and say Snyder pulled a rabid rabbit out of his hat and delivered a near masterpiece in new millennium horror.
Apparently George Romero wasn’t too impressed with many of the remake’s tweaked and introduced elements, but grew to appreciate and like the savagely inventive take on his seminal zombie flick. The movie should stick with the complete title of Zack Snyder’s Dawn of the Dead, as it is very much Snyder’s vision of James (Slither) Gunn’s screenplay, based on George Romero’s screenplay (and like The Texas Chainsaw Massacre it shouldn’t be compared to the original when discussing its merits and trappings).
Gunn’s screenplay has a couple of major plot differences from the original apart from different characters in the same setting; an abandoned shopping mall. In this version the zombies run like nasty bastards, instead of the slothful shuffle. This is supposedly breaking the “Romero rule”, and makes the zombies appear closer in behaviour to the enraged undead of the 28 Days Later/28 Weeks Later movies. The difference being in Snyder’s Dawn of the Dead there is no mention of a virus (forget what the DVD covers say), suggesting the plague is of mysterious supernatural source. Snyder also admitted he wanted to avoid any kind of absurdity associated with slow-moving, sluggish zombies.
It must be mentioned that the word “zombie” is never mentioned in the movie. I really dig the idea that the characters in the movie have no pre-conception of the zombie myth. Instead they question what on earth all the victims have turned into. Dead people that have come back to life as vicious cannibals is the best answer they have.
There are countless references to Romero’s original, and to Night of the Living Dead (1968), including cameos from three of the original Dawn’s actors all who appear in news footage; Ken Foree plays a TV evangelist, Scott H. Reiniger plays a General, and Tom Savini plays a County Sheriff. Special make-up effects guru Savini must have been impressed with David LeRoy Anderson’s extensive use of prosthetics on this version, with restrained, but very impressive additional use of CGI gore effects; exceptional work indeed by both departments. The balance between the two should be a template for all contemporary horror movies. When you can’t convincingly achieve an effect in-camera then use CGI, such as the very effective horror sequence when the truck backs up and violently mows down several zombies.
Overall there is little to fault about this movie. The casting and acting is excellent. If I had to pick any stand-out performances, then Jake Weber as everyman Michael, Sarah Polley as nurse Ana, Michael Kelly as mall security supervisor CJ, and scene-stealer Ty Burrell as terminally sarcastic Steve, the boat owner with the key to freedom.
The use of source music within the movie is also inspired, especially the Johnny Cash song The Man Comes Around which provides an unsettling undertone. Special note must be made of the brilliant title credit sequence which comes in after the prologue sequence depicting Ana leaving work at the hospital, arriving home to her husband in their suburban her cul-de-sac, waking to find the neighbour’s little girl at their bedroom door with a nasty wound to her face and a glazed dead, but ravenous look in her eye, and Ana’s subsequent chaotic escape from the clutches of her zombified neighbourhood. I would rate Kyle Cooper’s title credit design, including its use of sound, as one of the very best ever. When I first saw it in a darkened cinema I found the overall effect (the prologue followed by the opening credits) rather disturbing.
Snyder’s Dawn of the Dead finishes with an open-ended disaster, cleverly inter-cut with the end credits (and the hard-edged song Down With the Sickness). It’s a fittingly bleak dilemma to what’s been a grim task of urban survival. When there’s no more room in Hell, the dead will walk the Earth … what can you do? Just like George Romero’s dual masterpieces Night of the Living Dead and Day of the Dead (1985), Zack Snyder’s Dawn of the Dead is essential viewing for all horrorphiles.
Here's the superb teaser trailer:
After Marcus Nispel’s re-imagining of The Texas Chainsaw Massacre (2003) came Zack Snyder’s re-envisioning of Dawn of the Dead (2004), and hardcore horror fans, especially zombie freakazoids, were frothing at the mouth and twitching uncontrollably. How could they possibly think of remaking George Romero's 1978 landmark gut-ripper?! I'll go out on a severed limb here and say Snyder pulled a rabid rabbit out of his hat and delivered a near masterpiece in new millennium horror.
L-R: Jake Weber as Michael, Sarah Polley as Ana, Michael Kelly as CJ, Ving Rhames as Kenneth, Mekhi Phifer as Andre, Kevin Zegers as Terry and Inna Korobkina as Luda
Gunn’s screenplay has a couple of major plot differences from the original apart from different characters in the same setting; an abandoned shopping mall. In this version the zombies run like nasty bastards, instead of the slothful shuffle. This is supposedly breaking the “Romero rule”, and makes the zombies appear closer in behaviour to the enraged undead of the 28 Days Later/28 Weeks Later movies. The difference being in Snyder’s Dawn of the Dead there is no mention of a virus (forget what the DVD covers say), suggesting the plague is of mysterious supernatural source. Snyder also admitted he wanted to avoid any kind of absurdity associated with slow-moving, sluggish zombies.
It must be mentioned that the word “zombie” is never mentioned in the movie. I really dig the idea that the characters in the movie have no pre-conception of the zombie myth. Instead they question what on earth all the victims have turned into. Dead people that have come back to life as vicious cannibals is the best answer they have.
There are countless references to Romero’s original, and to Night of the Living Dead (1968), including cameos from three of the original Dawn’s actors all who appear in news footage; Ken Foree plays a TV evangelist, Scott H. Reiniger plays a General, and Tom Savini plays a County Sheriff. Special make-up effects guru Savini must have been impressed with David LeRoy Anderson’s extensive use of prosthetics on this version, with restrained, but very impressive additional use of CGI gore effects; exceptional work indeed by both departments. The balance between the two should be a template for all contemporary horror movies. When you can’t convincingly achieve an effect in-camera then use CGI, such as the very effective horror sequence when the truck backs up and violently mows down several zombies.
Overall there is little to fault about this movie. The casting and acting is excellent. If I had to pick any stand-out performances, then Jake Weber as everyman Michael, Sarah Polley as nurse Ana, Michael Kelly as mall security supervisor CJ, and scene-stealer Ty Burrell as terminally sarcastic Steve, the boat owner with the key to freedom.
The use of source music within the movie is also inspired, especially the Johnny Cash song The Man Comes Around which provides an unsettling undertone. Special note must be made of the brilliant title credit sequence which comes in after the prologue sequence depicting Ana leaving work at the hospital, arriving home to her husband in their suburban her cul-de-sac, waking to find the neighbour’s little girl at their bedroom door with a nasty wound to her face and a glazed dead, but ravenous look in her eye, and Ana’s subsequent chaotic escape from the clutches of her zombified neighbourhood. I would rate Kyle Cooper’s title credit design, including its use of sound, as one of the very best ever. When I first saw it in a darkened cinema I found the overall effect (the prologue followed by the opening credits) rather disturbing.
Snyder’s Dawn of the Dead finishes with an open-ended disaster, cleverly inter-cut with the end credits (and the hard-edged song Down With the Sickness). It’s a fittingly bleak dilemma to what’s been a grim task of urban survival. When there’s no more room in Hell, the dead will walk the Earth … what can you do? Just like George Romero’s dual masterpieces Night of the Living Dead and Day of the Dead (1985), Zack Snyder’s Dawn of the Dead is essential viewing for all horrorphiles.
Here's the superb teaser trailer:
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Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
It's funny that Romero was disapproving of it at first considering how weak his own recent films have been, simply going through the motions it seems - the exact opposite of this showstopping, enervating, and masterful re-imagining of the world he created.
Comment by Damo
I like the idea of stripping the zombie tale of any lame explanations and leaving it in the supernatural realm. The old movies with the Voodoo produced zombies were definitely a scarier scenario than a virus.
Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
If you've got the DVD of this film, the commentary with Snyder is quite interesting... he chose to go with the fast zombies but he acknowledged that, because they're in motion, the longer the camera is on them, the less horrific they look.
Comment by Kleonaptra
Kalikapsychosis
Because I completely adore this movie. Completely, utterly, ridiculously!! It has all my favourite elements - suspense sufficient enough to generate fear, real horror (in your gut) jumping out of your seat because you actually give a damn about the characters, surprise in the plotline, action, gore.......Yes, Its got it all!
Thankyou very much for providing the name of the actress who played Ana. I have been embroiled in a debate with Kmans best friend. He swears it Uma Thurman. I told him he was dreamin...Now hear the Kleo Ha haha hah HA! Of triumph.
(But he also thinks it was Alicia Silverstone in the original 'Buffy' movie. Kristy Swanson dude, and I dont even have to get up to check the DVD case....)
But this movie for me had the most unbelievably real disaster scenes in the opening. I just love scenes that accurately show society going to pieces. Its unpredictable, its horrible, its frantic.
Shooting celebs from the top of the mall? Brilliant.
Supernatural theme of Satan sending the dead back? Stunning.
The thread of Ana being a nurse and trying to work out whats going on....It was great.
Poor Andy starving on the roof....Good stuff.
I didnt agree with their decision to leave the mall. But thats what keeps you interested. I would have stayed there and made some home made napalm. Such a depressing ending. But hey. Its horror at its absolute best, so what could I have expected?
Comment by Bryn
Horrorphile
Comment by Matt Shea
Comment by Bryn
Horrorphile
Comment by Matt Shea
Yeah, shuffling Zombies are the way forward, so to speak. If nothing else, they just provide the opportunity for the writers to have a lot more fun with it - you know, have the characters go on missions into Zombie infested territory etc.
Horror films that I love would be The Thing(1982) (I did a retrospect of this earlier in the week if you want to check it out here), The Evil Dead, The Exorcist, Alien, Rosemary's Baby, Halloween, Carrie - all off the top of my head. A recent one that I loved was Dog Soldiers - great stuff. What would be a few of your all time favs?
Comment by Bryn
Horrorphile
I've been meaning to check out your Thing post. I reviewed it here. One of my very faves too, was privileged to have seen it when it was first released too.
For a list of my top twenty fave horror movies go to my Orble profile page. You'll see we have a few in common
Comment by Matt Shea
Unfortunately your The Thing link seems to be broken
Comment by Bryn
Horrorphile
Comment by The Film Geekette
The Film Geekette
Comment by Bryn
Horrorphile
yeah, the baby reminded me of working on Peter Jackson's Braindead with the zombie baby. Apparently the screenplay called for the baby to start attacking and devouring the mother, but the filmmakers thought that was taking things too far (!) LOL
Comment by JohnDoe
Film & TV on DVD
brillint opening and closing sequence, enticing camera choices, suspenseful orchestration and splatterings of intestinal giggles...fun ride.
Comment by Bryn
Horrorphile