Reviews: Dawn of the Dead Limited Edition Set

Dawn of the Dead Limited Edition Blu-Ray & 4K UHD,
Directed by George A. Romero,
Starring David Emge, Ken Foree, Scott Reiniger, Gaylen Ross

When there’s no more room in Hell, the dead will walk the Earth

I’ve loved Romero’s movies for as long as I can remember liking horror films. Dawn of the Dead, the second of his original trilogy (which later grew into a longer series), still occupies a special place in my Romero Pantheon though, and indeed retains a special place in my favourite horror films of all time, an excellent mix of horror, both from the gruesome deaths waiting everywhere by the hungry, walking dead, but also from the rapid disintegration of civilisation and the way so many humans respond to it, often as bad or worse than the zombie threat itself, leavened with some humour (few zombie horrors offer us the delights of the classic cream pie in the face fight!), and, of course, Romero’s social observations and satire.

I would imagine most collectors willing to spring for this pretty magnificent limited edition set from Second Sight will already be more than familiar with the film, and all of Romero’s works, but for those less familiar, a quick recap. Following the events of Romero’s seminal 1960s, genre-defining class Night of the Living Dead, the plague of the dead reanimating and stumbling slowly but remorselessly in pursuit of living flesh to chew has spread, civilisation is collapsing. We begin with two different scenes which introduce the main character – one set in a news studio, desperately trying to remain on the air and issue emergency information to citizens as communications break down and people give up and flee, one by one (including news helicopter pilot Stephen “Flyboy” Andrews – David Emge – and his partner Fran Parker, played by Gaylen Ross).

The other sees a SWAT squad of heavily armed police backed up my army units storming a down-town building, encountering a mix of gun-toting gang-bangers, desperate civilians and reanimated corpses. This is where we meet Roger (Scott Reiniger) and Peter (the iconic Ken Foree), dealing with criminals, zombies and fellow officers losing the plot and going gun-crazy as the situation falls apart. Even the police are giving up, the city is lost, most are choosing to flee while they can, and Roger tells Peter that his friend, Stephen, is a chopper pilot and he’s meeting him and Fran to escape later, inviting Peter to come with them.

On the run we see encounters with other frightened groups of survivors and the ever present menace of the creeping undead – nowhere is safe, even a rural airstrip where they stop to refuel, seemingly deserted. It is here we see the infamous “head slicing” as a zombie lurches towards Roger refuelling the chopper, unable to hear it over the engine noise, turning as he sees it stand up on a pile of boxes to get to him, only for the whirling blades to slice strips from the top of its skull (bloody but quite amazing special effects by the now famous wizard Tom Savini, all practical effects, long before the dawn of CGI), a scene which manages to be stomach-turning and funny at the same time. A second scene in the small airport building, however, is far harder to take – Peter hears a noise, shoots through the door, only for it to open and two child zombies rush out at him, forcing him to shoot both in the head. They are undead zombies, but it’s still shooting a child, and Foree, to his credit, shows the toll this takes on Peter in a very quiet, understated but effective manner. The message here is clear: the world they knew, of rules and safety, is gone, they now have to commit acts they would never have dreamed of if they are to survive.

It is on the run that they spot a huge structure, which turns out to be an enormous indoor shopping mall – at the time a very new thing in the world. Originally planning to land and grab some supplies, they soon realise they could block the doorways with delivery trucks, clear the few zombies inside, and have a secure location to rest, which has everything they need from radios and TVs to listen for emergency broadcasts to clothes and every sort of food. The temporary stop soon becomes long-term, as what was a brief respite becomes a lack of drive to try and escape further north as originally planned – seduced by all the consumerist delights they make their new home comfortable with furniture from the stores, new clothes, an arsenal of weapons, drink and food. Fran, now several months pregnant, realises that they have essentially created their own comfortable prison, but it is one that will soon be shattered by the arrival of a marauding army of bikers who have been living on the road since the zombie apocalypse, pillaging where they can (and I will go no further for fear of spoilers for those who still haven’t seen this classic).

I will add, however, that re-visiting this film now, in the midst of our resurgent pandemic situation, added another layer for me as a viewer – the urge for our protagonists to hide inside and largely ignore the (unsafe) outside world, the sudden burst of pleasure after normal life is destroyed, in doing something as normal as shopping for stuff, half of which you don’t really need but just want the fun of shopping and buying and feeling normal. Oh yes, that took on a different meaning after all we’ve been going through this year. But then again that’s the mark of good storytelling, that it was written to speak about events of its own time but can still be re-interpreted decades on in a very different situation.

One of the aspects of Romero’s film-making I have always respected was his ability to take something different for each of his zombie films, something cultural and social from the era he made each in – Civil Rights being a huge influence in the original 1960s Night of the Living Dead, Cold War paranoia and apocalypse in the military bunker-set Day of the Dead, social media in Diary of the Dead and so on. Here in this 1970s offering with its vast, sprawling indoor mall of endless shops it is our lust for consumerism – a drive so strong that it attracts not only our fleeing heroes and distracts them with its baubles when they should be making plans to retreat somewhere safer, but also the zombies themselves. The undead have massed around this huge structure, struggling to get past the barricades our heroes put in place.

They are walking corpses, the items in the stores are of no use to them now (and in a dark mirror reflection we see that ultimately most of those shiny items we are so sure our life isn’t complete without are mostly of no use to Flyboy, Peter, Roger and Fran either, except as a dangerous distraction from the reality crashing in all around them). Flyboy opines that the reason so many are trying to get in is because they saw them enter and know they are still there. No, Peter argues, it isn’t them they are after, it is the building, the shops. They are us, or were us, and some dim spark in their decaying brains remembers this place as somewhere they liked to be, and it drives them on still in their undead existence, almost as strong an imperative as the urge for fresh flesh.

These limited edition 4K UHD and Blu-Ray sets are pretty damned impressive – we get three cuts of the film, from the original theatrical version, the slightly longer “Cannes” cut, and a third by the legendary Italian maestro of horror, Dario Argento, who wrote the story with Romero and was instrumental in getting international finance to allow the film to be made. There are CDs of the soundtrack by Argento regulars Goblin, newly commissioned artwork, a novelisation of the film and a hardback collection of essays, Dissecting the Dead.

Also among the extras, in addition to different commentaries on each of the various cuts of the film offered here (from Romero to Tom Savini to Ken Foree and others), there is an entire disc full of extras, which I have to say I really enjoyed working my way through. My favourite here was Zombies and Bikers, which talks to a whole slew of crew and cast, including many who gave their time to appear as zombie extras or the biker army, many of whom would be singled out by Romero for special close-ups and their own mini-arcs in the film. Memories of Monroeville sees Michael Gornick, Tom Savini, Tom Dubensky and Taso Stavrakis return to the original mall to explore some of the locations where they shot scenes and reminisce about the filming. Romero was friendly with people who ran the mall, and they allowed him to use it, but he could only shoot at night after the stores closed, which meant a long, arduous shooting schedule, having to wrap each morning as the automated, canned music and voice over ads on the speakers would come on by themselves (this is echoed in the film where the same music and ads for the stores continues to play in the now empty – save for our four protagonists – mall, another echo of the emptiness of trying to fill our lives with consumerism).

A common thread in these two documentary extras, apart from a nice feeling of nostalgia as those involve look back on the work they did and how they could never at the time have anticipated that decades on it would remain this iconic, landmark film, is the sheer warmth in their memories. Despite the hours, working through the night for little money, many joining the shoot at night after their day jobs, everyone genuinely seems to have wonderful memories of the film, and most especially of the late Romero and what a charming and delightful director he was to work with. It reminded me of the time Romero visited the Edinburgh International Film Festival with Diary of the Dead – decent enough film, not his best though, but the reception the man himself got from the audience was amazing, it was clear how much love there was in the room for this man, he was “Uncle George” to most of us, and I could see that in these recollections in the extras.

It was also very clear from these documentaries, and a previously unseen interview with Romero, that this film, a film that now has a secure place in cinema history, only exists because so many people like those featured in the extras here were happy to put in the time, working for a token fee, to help make Romero’s script turned into reality, while others helped with letting them use locations they could never have afforded to rent or recreate on a sound-stage. With many it came down to a combination of love for his Night of the Living Dead and also a lovely community support aspect – a sort of wow, we’re making a feature film right here in Pittsburgh, not Hollywood, yes, I want to help you make that happen. Again it is such a warm wave of enthusiasm and mutual support for fellow creators which is inspiring to see. All in all this is a terrific collector’s edition, with well-restored cuts of the film in different edits and jam-packed with extras, giving this iconic horror the respect it richly deserves.

The limited edition set Second Sight has put together is a cine-collector’s dream – three different cuts of the film, a whole disc full of extras, newly commissioned artwork, audio CDs (including Goblin’s soundtrack), novelisation and a hardback book, Dissecting the Dead. Dawn of the Dead is released in a special Limited Edition 4K UHD and Blu-Ray by Second Sight on November 16th

This review was originally penned for Live For Films

EIFF 2019 – The Dead Don’t Die

The Dead Don’t Die,
Directed by Jim Jarmusch,
Starring Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Iggy Pop, Sara Driver, Carol Kane, Rosie Perez, Selena Gomez, Tom Waits, Danny Glover

Welcome to Centreville, “A Real Nice Place!” After his vampiric outing with Tom Hiddlestone and Tilda Swinton in Only Lovers Left Alive, Jarmusch turns his distinctive style on the all-prevalent zombie genre, with this very enjoyable and self-referential movie. Jarmusch takes many of the great horror tropes – the small, quiet town where nothing ever happen, the local sheriff used to dealing with complaints of farmers having chickens stolen rather than homicides (let alone undead homicides) – and a gleeful barrel full of references to other horror films, his own film works and an increasing amount of fourth wall breaking as it becomes clear that the characters are aware that they are, in fact, in a Jim Jarmusch movie (leading to a brilliantly deadpan dialogue duet between Driver and Murray).

The world has been titled off its axis by “polar fracking”, which naturally energy corporations and the US government insist are entirely safe and create cheap energy and jobs. The first signs of anything wrong in this sleepy little rural town are small-scale – animals start to go missing, both household pets and farm animals. Not stolen, actually disappearing, even the cows flee their usual fields to take cover in the dark forest. And then there’s the little matter of it still being light when it should be evening, or dark when it should be morning, and watches and phones not working properly. “This isn’t going to end well,” opines Adam Driver’s deputy, a statement he returns to several times as events go from curious to threatening to full-on zombie apocalypse, and the various characters we’re introduced to in the first half fight – with varying degrees of success – to survive in the second half.

However to explain the basic plot here is, to be honest, a trifle redundant. And I don’t mean that in the bad way – this is a Jim Jarmusch film, and a synopsis of the main plot really doesn’t give you much of an idea of the film with Jim’s works, his films are experiences of style and attitude, a mixture of the unusual and the mundane, the suddenly gritty and nasty with the whimsically fantastical and humorous and elements of almost dream-like sensations in places. Those of you who, like me, are long confirmed Jarmusch fans, will understand what I mean when I say I can try to describe some of the film, but really, like any Jarmusch movie, it simply has to be experienced to really get it.

The Dead Don’t Die brings together a bunch of Jarmusch’s regular collaborators, and let’s be honest, most of us welcome these actors in anything we watch – Billy Murray (with his remarkable hang-dog expressions and uncanny, almost Gene Wilder-like ability for timing and pauses), Tilda Swinton, one of the great Queens of the World in my book, here clearly having fun with her bizarre, katana-wielding funeral home director, recently arrived in this small community (when pointed out she’s rather peculiar one character simply notes “she’s Scottish”, which got a good laugh from the Edinburgh festival crowd, and no offence taken as Tilda has lived here quite a lot, so we count her as one of us and therefore fine to lampoon us).

Adam Driver’s deputy worked brilliantly alongside Bill Murray’s sheriff – with a quiet character like Murray’s Cliff the temptation could have been to have the opposite for his deputy, someone loud, or panicky. Instead Driver essays a calm, almost laid-back approach to the building horror, much like Murray’s older character, and this worked nicely in my opinion. Tom Waits prowls the woods around the town as Hermit Bob, spotting the early signs (birds migrate early to flee, ant colonies go mad, cows run to hide in the woods, then bigger clues like dead bodies erupting from graves), and providing the occasional bit of narration to the events, all delivered in that gravelly, unmistakable Tom Waits voice. Others like Chloë Sevigny, Selena Gomez and Danny Glover all get some nice character moments too, it’s a well-played ensemble piece.

The references to other films, both in the horror genre and in Jarmusch’s own body of work, are littered throughout the film and prove to be highly enjoyable little gems for fans, the natural world going crazily out of tilt mirrors a couple of scenes from Only Lover, for example, or Adam Driver’s character having a Star Destroyer key-chain in a hint to his Star Wars role. The increasing conceit of the characters starting to talk about being in a Jarmusch film is played well for comic effect as the film builds towards its climax, and the film isn’t shy of giving even more famous names a grisly demise (in fact it seems to relish doing so rather gleefully, and I suspect the actors enjoyed it).

It’s funny, it’s silly, it’s horror, it’s fantasy, it’s comedy. If you aren’t a Jarmusch fan then I doubt this will convert you, but for those of us who look forward to any new work from Jarmusch, this has all the Jim ingredients we love, mixed and baked nicely, while the ensemble cast are obviously enjoying playing together in a Jarmusch film. I left the cinema with a huge smile on my face, among a very busy and very happy-looking film festival audience.

High school, zombies & musicals: Anna and the Apocalypse

Anna and the Apocalypse,
Directed by John McPhail,
Starring Ella Hunt, Malcolm Cumming, Sarah Swire, Christopher Leveaux, Ben Wiggins, Marli Siu

High school. Zombies. Hard to tell sometimes which is more horrific. Add Christmas concert, overbearingly strict new headmaster, boyfriend troubles, arguments with parents, worrying about what you’ll do with your future plus a zombie apocalypse and set much of it to music and you have Anna and the Apocalypse.

I’m sure I’m not alone in loving Once More, With Feeling, the musical episode of Joss Whedon’s Buffy the Vampire Slayer; it was one of those episodes that, on paper, sounded like a terrible idea that would fall flat, but actually it was enormous fun and also moved on the story arc and character developments. There’s a lot of Once More, With Feeling in Anna’s DNA, and a touch of those wickedly satirical musical episodes of South Park too, I think (indeed the opening credits are animated and have a slight similarity to South Park’s style). Here, while the young cast (sensibly) play it all straight, it’s also clear the film-makers are having a huge amount of fun taking the American style high school musical, populated by teens with whiter than white teeth who love in sunny, Californian towns and royally taking the mickey out of them.

The sight of a bunch of Scottish school kids and staff in a wee town near Glasgow bursting into this very US style (complete with teachers and even the dinner ladies dancing) is side-splitting, while lyrics like “not a Hollywood ending” further satirise the American musicals and teen comedies Anna riffs on (although not in a nasty way, you get the impression they like laughing at them but still like them). And as one character comments when the action starts, this sort of thing happens in other countries, not in a wee town in Scotland, and that is part of the fun here.

We have the Usual Suspects – Anna (Ella Hunt) is a gifted, smart, intelligent girl, approaching the end of school and scared to tell her father she’s going travelling before she applies to university (he is over protective after losing his wife), her friends John (Malcolm Canning), Steph (Sarah Swire), Chris (Christopher Leveaux), Nick (Ben Wiggins) and Lisa (Marli Siu). The kooky, daft but loveable one, the “best friend” who is so obviously totally in love with her, the geeky one, the obsessive, intense one, the trying to be a hard-man jock but masking inner feelings one, and naturally a nasty headmaster (Paul Kaye) who would probably have enjoyed teaching at Sunnydale High, the sort of headmaster who clearly hates kids and resents that they may grow up to have a happier life than he has had.

Anna and the Apocalypse takes all of these generic elements but filters them through a small, west-coast Scottish town sensibility, and that’s funny in itself seeing such very American stylings done in a wee Scots school as they prepare for the annual Christmas concert (especially slightly ditzy but delightful Lisa, who plans a somewhat more risque number than she told the headmaster she’d perform). And then, wouldn’t you know it, the zombie apocalypse happens. And at first Anna, John and the others don’t quite notice. Heading out of her house, walking down the rainy winter street Anna is singing and dancing, earphones plugged in, while behind her neighbours flee from their homes pursued by the undead, fires burn, cars lie crashed and she’s oblivious with her phone, singing and dancing away, until she bumps into John dancing and singing his way to school, they duet and, of course, that is the moment a zombie in a snowman costume attacks them (hey, we’ve all been there).

After that it is the quest for survival, Anna and John finding some other friends along the way, trying to sneak across their town to school to find their other friends and families, and because authorities have issued emergency alerts saying the school will be the evacuation point for the town. And as with all such films, it’s a guessing game as to which characters are going to make it, which are going to end up becoming finger food for the ravenous undead who are rapidly over-running their town. And again while this takes the well-known generic tropes, it does so with such a knowing nod and wink – these people are fans and they are in on the joke, they know we are in on the joke and, to be honest, the young cast are so damned likeable that you buy into it happily. Of course the flipside of that is that you know not all the characters you come to love are going to make it. But they may go out with a song!

Edinburgh International Film Festival 2018 - Anna and the Apocalypse 02
(a very happy director: John McPhail talking to the late night film festival audience before Anna and the Apocalypse screened in the Edinburgh Filmhouse)
Edinburgh International Film Festival 2018 - Anna and the Apocalypse 03

This was my final movie of the 2018 Edinburgh International Film Festival, part of the late night strand the EIFF does each year (and don’t horrors suit the late night slot?). Director John McPhail and many of the cast and crew were at the screening, and clearly extremely excited and buzzed to bring their Indy Scottish film to the country’s most famous film festival. As a very delighted John McPhail told the audience, this is their home-town showing, screening to a Scottish audience, and the pleasure and excitement he and the others showed in being allowed to make this film then get to screen it at a packed festival showing was infectious. The festival audience didn’t just laugh at the humour or wince at the (deliberately) OTT violence (very cartoony), the whooped and hollered and clapped along to the musical numbers, it was almost like being at a Rocky Horror screening, and that made it ten times more fun (the festival crowd was also treated to a special sing-a-long segment after the screening).

This is gleeful film-making, loving but also happy to play with the generic tropes of horror, teen drama and musicals, and has future cult film written all over it. Best seen with a group of friends.

“And I said what about zombies at Tiffany’s”

How awesome is this? It’s a zombie version of the immortal Adurey Hepburn as Holly Golightly in the movie version of Breakfast at Tiffany’s – it’s actually a cake based on a t-shirt design for Threadless. Coincidentally I went to a classic screening of Breakfast at Tiffany’s earlier this year, I’d forgotten how much it deviated from Truman Capote’s book, although actually I still love it anyway. Zombie Golightly though, that’s inspired. (via BoingBoing)

Moon River, wider than a mile,
I’m eating you in style some day.
Oh, undead maker, you brain muncher,
wherever you’re going I’m going your way.
Two drifters off to see the world.
There’s such a lot of world to see.
We’re after the same rainbow’s end–
waiting ’round the bend,
my undead huckleberry friend,
Moon River and me
.”

Easter zombies

The Easter holiday weekend, when we remember Jesus Christ who died then rose from the grave, walked out of the tomb as an Undead, munched on some passing disciple’s brains and so gave birth to the zombie genre and set the scene for the horror messiah Saint George of Romero. And praise also to the Catholic Church who took time out from buggering young children to create the myth of Transubstantiation where they held that the wine and the Host wafer literally became the body and blood of Christ when taken at services, giving life eternal, thus also promoting both the cannibal horror sub genre and of course the vampire. Where would modern horror be without Jesus and the Catholic Church, eh?