by Steve Habrat
With director Marc Forster and Brad Pitt’s epic World War Z swarming the global box office, I thought it would be a good time to countdown the 15 best zombie movies of all time. Now, if there is one thing that I know in this world, it is zombies. I love ‘em. I cut my teeth on Night of the Living Dead when I was just a little sprout and I never looked back. I’ve dabbled in everything from the Italian splatterfests of the late 70s and 80s to all of Romero’s heady zombie romps. I’ve thrilled at the sprinting zombies and I’ve chuckled right along with the new string of “zom-coms.” Hell, I even religiously watch The Walking Dead when it is on AMC. So, without further ado, I give you my picks for the top 15 zombie movies of all time. I do hope you’re craving some brrrraaaaaaaaaaiiiiiinnnnnnssss!
15.) Let Sleeping Corpses Lie (1974)
Director Jorge Grau’s surreal 1974 chiller doesn’t feature the undead in thick hordes like many of the films on this list. No, this film was made when the zombie subgenre was still suffering from some growing pains. However, it is still a massively chilling, impeccably acted, and brutal zombie movie made in the wake of the collapse of the counterculture. With an alien score that would have been perfect for any 50s science fiction flick and spine tingling wheezes creeping over the soundtrack, this go-green atomic freak out is an absolutely must for zombie fanatics and horror freaks, especially the final blood-soaked twenty minutes.
14.) Grindhouse-Planet Terror (2007)
In early 2007, Robert Rodriguez and Quentin Tarantino unleashed this passion project into an America that frankly didn’t get what the duo was trying to do. Well, America, you missed out. This scratchy double feature kicks off with a gooey bang in the form of Rodriguez’s Planet Terror, a pus-filled tribute to zombie godfather George A. Romero and Italian goremaster Lucio Fulci. Brimming with tongue-in-cheek violence, melting penises, machine gun legs, and kerosene action, Planet Terror is a self-aware charmer that is guaranteed to churn your tummy. Keep an eye out for an extended cameo from Tom Savini, who did the make-up effects in Romero’s Dawn of the Dead and Day of the Dead.
13.) Shock Waves (1977)
Way before Call of Duty: Nazi Zombies took the world by storm, this little-known but unnervingly creepy tale about a troop of goggle-clad SS ghouls patrolling an abandoned island snuck into theaters and then was largely forgotten. Fueled by a ghostly atmosphere and flooded with horror icons (Peter Cushing! John Carradine! Brooke Adams!), this sun drenched chiller doesn’t feature the same old flesh-hungry ghouls ripping victims limb from limb. Nope, these guys march out of the water, sneak up on their victims, and then violently drown ‘em. Trust me, they are VERY cool. With a score guaranteed to give you goosebumps and an immensely satisfying last act, this is a low budget B-movie gem that deserves to be showered in attention. Track it down and show your friends!
12.) 28 Weeks Later (2007)
It seemed like an impossible task to try to do a sequel to Danny Boyle’s terrifying 2003 game changer 28 Days Later, but that didn’t stop Hollywood from giving it a try. Surprisingly, 28 Weeks Later, which was produced by Boyle and directed by Juan Carlos Fresnadillo, is an intimidating follow-up that goes bigger and louder than the previous film. Clearly crafted for a summer audience, 28 Weeks Later is an effects heavy blockbuster that finds much of London being reduced to ashes, but the acting is top notch, the smarts are in place, and the zombie…sorry, INFECTED mayhem will leave you breathless and shaking for days.
11.) Day of the Dead (1985)
The third installment in George A. Romero’s zombie series was a bomb when it was first released and unfairly dismissed by many critics including Roger Ebert. You should know that the shockingly dark and cynical Day of the Dead has many tricks up its sleeve. Perhaps the angriest zombie movie ever made, Day of the Dead is the work of a man who has completely lost his faith in humanity and our ability to work together. Did I mention that it also features an intelligent zombie? Yeah, wait until you meet Bub. While much of the zombie carnage is saved for the shadowy climax, Day of the Dead is still a film that spits fire. I’d even go so far to say that it is one of the most important films of the Regan Era.
10.) Return of the Living Dead (1985)
This punk rock “zom-com” from writer/director Dan O’Bannon passes itself off as an unofficial follow-up to Romero’s 1968 treasure Night of the Living Dead. The characters all openly acknowledge the events of that film, but they do it all in neon Mohawks while snarling rock n’ roll blares in the background. With plenty of gonzo action and a swarm of ghouls that howl for more “braaaaaaiiiiiinnnnnssss,” Return of the Living Dead is like a living, breathing cartoon. If that doesn’t convince you to attend this ghoul shindig, wait until you catch a glimpse of the tar zombie, one of the most visually striking zombies ever filmed. Rock on!
9.) The Dead (2011)
The newest film on this list is actually one of the most impressive throwbacks of recent memory. The Dead is basically a road movie smashed together with Lucio Fulci’s Zombie and a forgotten spaghetti western. It could also be the most beautiful zombie film on this list (aside from Dellamorte Dellamore). Taking place on the parched African landscape, The Dead will send shivers as its zombies slowly shuffle along in the background of nearly every single shot, making you wonder if our two silent protagonists will ever make it out of this situation alive. While the last act dips, The Dead never lets up on the intensity. Just watch for a scene where an injured mother hands her infant child off to Rob Freeman’s Lt. Murphy as zombies close in around her. Pleasant dreams!
8.) Re-Animator (1985)
It seems that 1985 was the year of the zombie. We were treated to gems like Return of the Living Dead, Day of the Dead, and Stuart Gordon’s cheeky horror-comedy Re-Animator. A bit more restrained that some of the films on this list (but not by much), Re-Animator is a big glowing tribute to science fiction and horror films of years passed. It has a little something for everyone, all wrapped up in a big Sam Raimi-esque wink. Did I mention that it can also creep you out big time? Featuring a must-see performance from Jeffrey Combs and a zombie doctor carrying his own head, Re-Animator is a science-lab romp that will have you shrieking one second and giggling the next.
7.) Dawn of the Dead (2004)
Zack Snyder’s speedy remake of George A. Romero’s masterpiece was probably the most expensive zombie movie of all time until World War Z came crashing into theaters. It was also much better than it had any right to be. While it will never trump the heady original, Snyder makes an energetic gorefest that will make horror fans giddy with delight. The film has a stellar opening sequence that is followed by grainy news reports of a world going to Hell, all while Johnny Cash strums his guitar over bloody credits. From that point, Snyder lobs one gory gag after another at the audience, the most fun being a game of spot a zombie that looks like a celebrity and then turns its head into hamburger meat. Oh, and if the film didn’t have enough blood and guts already, wait until you see the chainsaw accident near the end of the film. It’s a doozy.
6.) Dellamorte Dellamore aka Cemetery Man (1994)
From the late 70s through the mid 1990s, Italy had severe zombie fever. In the wake of George A. Romero’s massively successful Dawn of the Dead, the Italians cranked out more knockoffs than you can shake a severed arm and leg at. Many of them were cheapie exploitation movies that lacked artistic vision, but right before the craze died off, director Michele Soavi released Dellamorte Dellamore aka Cemetery Man, a gothic zombie fantasy that truly is unlike anything you’ve seen before. Surreal, sexy, and episodic, Dellamorte Dellamore borders on arthouse horror and has earned fans as high profile as Martin Scorsese. The last act of the film is a mess and it seems like Soavi wasn’t exactly sure how to bring the film to a close, but this is certainly a zombie movie that you have to see to believe.
5.) Shaun of the Dead (2004)
In 2004, American audiences were introduced to British funnyguys Simon Pegg, Nick Frost, and Edgar Wright, and we were all the better for it. The first “romantic comedy with zombies,” Shaun of the Dead is a side-splittingly hilarious romp that can also be quite terrifying what it sets its mind to it. Loaded with nods to classic zombie movies (each time you watch it you will spot another tip of the hat), endlessly quotable jokes, and some eye-popping gross-out gags, Shaun of the Dead is a surprisingly sweet film with a core romance you can’t stop rooting for. Also, Romero has given it his approval, which automatically makes it a zombie classic.
4.) Zombie (1979)
Lucio Fulci’s 1979 grindhouse classic Zombie (aka Zombi 2) was the first Italian knockoff inspired by George A. Romero’s Dawn of the Dead. It is also the best Italian zombie movie out there. Entitled Zombi 2 in Italy to trick audiences into thinking that the film was a sequel to Dawn, Zombie is a beast all its own. Without question the most violent and exploitative zombie film to emerge from the Italian zombie movement, Zombie is a tropical blast of excess that will have your jaw on the floor. Gasp as a zombie has an underwater battle with a shark (you read that correctly, in case you were wondering) and dry heave as a woman has her eye gouged out by a piece of splintered wood (shown in an extreme close up). And that is Fulci just getting warmed up! Approach this sucker with caution.
3.) 28 Days Later (2003)
Danny Boyle’s 28 Days Later is not technically a zombie movie. The red-eyed, blood-spewing maniacs that dash through the streets of devastated London are suffering from a virus known only as “RAGE.” Still, the ghouls are very zombie like as they sprint towards their victims like coked-out marathon runners. Gritty, grim, and absolutely terrifying, 28 Days Later is an impeccably acted and smartly directed apocalyptic thriller that astounds with each passing second. The climax has split viewers, but in my humble opinion, it is an unflinching glimpse of human beings at their absolute best and absolutely worst. This is an essential and influential modern-day classic.
2.) Night of the Living Dead (1968)
In 1968, George A. Romero crafted a film that would go on to lay the foundation for the zombie subgenre. Cramped, creaky, and infinitely creepy, Night of the Living Dead is a lo-fi horror classic that continues to sit securely on the short list of the most terrifying films ever made. Romero instantly throws the viewer into the chaos and flat-out refuses to give us any sort of explanation for why the dead-eyed cannibals outside are trying to pound their way into that boarded up farmhouse. All we know is that something is very wrong and the situation seems to be steadily getting worse. Brimming with Cold War anxiety and flashing images that would be right at home in a forgotten newsreel from the Vietnam War, Night of the Living Dead is a film that will stick with you the rest of your life. A true horror classic.
1.) Dawn of the Dead (1978)
Ten years after he shaped the subgenre, Romero returned to give audiences his ultimate apocalyptic vision. Often imitated but never duplicated, Dawn of the Dead is the king daddy of zombie movies. Set just a few short weeks after the events of Night of the Living Dead, Dawn of the Dead begins with a flurry of blood and bullets ripping across your screen, assuring the viewer that once again, Romero is taking no prisoners. Once Romero decides to usher his four protagonists off to the Monroeville Mall, the satire kicks into high gear. Launching a full-scale attack on consumer culture, Romero dares to compare mall shoppers to his shuffling ghouls that wander the aisles of JC Penney. He also warns us that our inability to work together will be the death of us all. Featuring heavy character development, heart-pounding action sequences, and a devastating conclusion, Dawn of the Dead stands as a pulse-pounding masterpiece not only for Romero, but for the entire zombie subgenre.
So, do you agree? Disagree? Did I leave something off of the list? Feel free to leave me your picks! I’m dying to hear them!
by Will Nepper
We’ll get this out of the way first: I know that Christopher Reeves is dead and I did ‘get over it.’ (Mostly.) I’m also aware this is ‘not Donner’s Superman.’ (What is?) And finally, the fact that I really enjoyed Superman Returns may render my opinion invalid in your eyes. In fact, that may’ve been enough to stop you from reading further. I can live with that.
(What I can’t live with? A “World Machine” for starters, but more on that later.)
On the positive end of the spectrum, there is a lot to like about Man of Steel. That, perhaps, is what makes the entire experience so frustrating. The problem isn’t that it isn’t Donner’s Superman; it’s not even Superman’s Superman.
I enjoyed Kevin Costner, Diane Lane (even though, she wasn’t given much to do but beam proudly and look concerned) and almost all of the Smallville-era Kent family backstory, particularly moments where a young Clark becomes overwhelmed by his super senses in the classroom. His struggle to keep his powers a secret in the face of bullies presents some solid moments – some of the best in the Superman movie history.
Unfortunately, those moments make up about 20 percent of MoS, serve an origin story that we don’t really need and leave two hours of running time open to completely botch the rest of the job with increasingly boring battles and no real sense of peril or characterization.
I admit that I prefer my Superman movies with a bit of humor and characters that smile from time to time. (Henry Cavill smiles once or twice during the two-hour-plus epic.) But I’m willing to sacrifice all of that on the Fan Boy Alter because those aren’t Superman-story necessities. There have been plenty of “dark” story lines for the Last Son of Krypton and he can’t always maintain the boy-scout-in-blue attitude that many of his older fans (…Who has two thumbs and is an ‘older fan?’…) are accustomed to. Fair enough.
If you can’t see that this incarnation of Superman was built around the fan boy gripe that Superman Returns didn’t have enough punching in it, your brown-tinted, grit-covered Chris Nolan glasses may be blinding you.
We’ll never know (well, until we hear a DVD commentary) who’s most responsible for which of MoS’s problems, but I’m sure there’s plenty of blame to go around. The convoluted Kryptonian story components are almost certainly the fruits of Nolan’s influence. The static, unrelenting stake-free action sequences – well, those reek of Snyder’s style. For example: the fast zoom-in-zoom-out moments (to give you the POV of a flying Nikon, I guess) and the terrible pacing. (Snyder blew his wad on his remake of Dawn of the Dead as far as I’m concerned.)
Let’s scratch beneath the surface to the spoiler-y list of gripes I have with MoS and how they keep the movie from being the “Superman movie I’ve been waiting for.”
1. Lois Lane, as played by Amy Adams, looks more Lana Lang than spunky reporter and her character plays more like a History Channel “History’s Mysteries” sleuth than a “Pulitzer-prize-winning reporter.” In fact, there’s no evidence that she’s much of a reporter at all considering that she spends the entire movie tracking one story she’s been told to drop in favor of, you know, news. I’d say she’s miscast, but I don’t think Adams is the problem. Her LL is written as bland, and LL has never been bland. Adams singing scene in The Muppets was a showstopper and she was the only actor to rise above the material in the god-awful The Master. Her relationship with Superman – if we can call him that (Nobody does until the last reel and even then, only once.) –seems to have developed off-screen. I won’t say there’s a lack of chemistry between the two leads because we never get an opportunity to see for ourselves. The movie shifts back and forth in time and jumps to a new scene whenever things start to actually get interesting. To be fair, Superman Returns had some major Lois Lane problems too. (She was played by a woefully miscast Kate Bosworth and was Superman’s baby mama. Whaaaaa?!)
2. Krypton occupies waaaaay too much of MoS – even after we leave it – and this is a huge miscalculation where story is concerned. EVERYthing is explained to no substantial effect. What’s accomplished in the early scenes on Krypton could easily be chopped down to about 5 minutes without leaving us wanting or needing more. It would kick start the flick with some action-movie pacing rather than serve as a bloated Krypton history lesson. It doesn’t help that Krypton is … well, brown – like a cross between the sets of Dune, The Neverending Story and the Dark Crystal dropped into Nolan’s Gotham City. And the flying monsters, like the one Russel Crowe’s Jor-El hops on? They only served to remind me of a similar moment in a Star Wars prequels (they blur together for me) where Obi Wan mounts a similar CGI beastie eliciting similar groans from me.
The meat of these scenes is our introduction to this movie’s Zod, which is necessary but also problematic when this particular villain’s agenda is revealed and we learn how, in some ways, he’s a more sympathetic enemy than he is pure evil. He’s a Krytonian patriot just as he was genetically engineered. That means this dye was cast without his say, making him less a big meanie than a diligent servant of his race. Kal-El, on the other hand, is the only Kryptonian capable of free will. He faces tough decisions, can weigh the pros and cons, and act accordingly. Everyone else (including bred-for-science, Jor-El) is just doing the Gattaca shuffle his or her destiny demands. This leads me to another major gripe:
3. Superman does not snap necks. He never kills unless he’s left no alternative, and he almost ALWAYS finds an alternative because he’s super smart and calculating. (How many times has he outwitted confirmed genius, Lex Luthor?) Unlike Batman, Supes is a lover, not a fighter. Where DC’s second banana (kidding, Steve-O!) (… Even though he totally is … ) is a vigilante, Superman is more in the business of being a rescuer. His priority: protecting the people of the world (and the individuals within earshot of his super hearing). When Faora (Ursa 2.0) announces that: “You will not win. For every human you save, we will kill a million more,” she nails it because in that way, the bad guys DO win. Her prediction proves correct and though Zod and Co. don’t walk away with the store, they certainly rack up what must be a substantial body count. Remember what 9-11 did to this country? Imagine where the country’s head would be under the rubble of a completely trashed Metropolis. (It’s going to take Smallville several years to rebuild as well, and forget about a late night trip to IHOP for a while.) Superman would never let that pass. He would find a way to save as many people as possible AND save the planet, because HE’S SUPERMAN!
Not to kick it all nostalgic, but remember in Superman II when the panic-stricken Superman pleads with Ursa to rethink throwing the city bus full of people? He knows that a big Metropolis showdown between four superfolk would create a lot of collateral damage, so he leads the bad guys away from the city to battle them where they’ll do less damage. (The Artic was a good choice.) Instead we’re forced to endure a battle of indestructible Gods in which all the real damage is done to the city and its residents. Instead of outsmarting the villain, Superman breaks Zod’s neck and screams.
[An aside: On the topic of collateral damage: What the fuck, Hollywood? I had this gripe with The Avengers and Star Trek Into Darkness too. Our primary characters go unharmed while millions of simple city folk are squished under demolished buildings and thrown cars. I don’t need realism. I don’t require that we dwell on these things, but it would be nice to feel like something is at stake for once. We KNOW the good guy is going to win, but at what cost? That question is never answered because we never get an inkling of suffering despite the mass destruction. Even if we could just hear an off-screen newscast reporting: “Millions dead as Metropolis comes tumbling down like a lost game of Jenga, because a battle we have nothing to do with is being waged in our city by aliens, one of whom is supposed to be the good guy despite his inability to strategize.”]
Within minutes of Zod’s snapped neck, which, it would seem, indicates Supe’s victory, we make a rare visit to The Daily Planet, which looks to be in pretty damn good condition after the battle waged there. Did city engineers start reconstruction with The Daily Planet (a PRINT publication)? Instead of, like, schools? Things look like they’re back to business as usual, though we know outside Perry White’s windows are dead bodies trapped under the rubble left by a battle between two indestructible forces. Unless we’re to believe several years pass between the two scenes, and I’m pretty sure we’re not.
4. Lazy writing. Allowing Pa Kent to be swept away by a tornado is laughably lazy writing and makes no goddamned sense besides. Seriously, I laughed. It was the ONE TIME in his young life that Clark could have used his powers without it being detected by others. (–Even though Papa Costner forbids him, I bet Pa would be rethinking that stupid move as he free falls through the roof of a Smallville hardware store when the tornado eventually drops him.) But he let’s Dad’s raised hand force him back under the overpass? Maybe Clark just didn’t love him enough. I’d like to think that Ma, would immediately have slapped the shit out of Clark after that scene. “What the fuck?! He was your dad, dumbass!”
In Superman: The Movie, it’s important and pivotal when the elder Kent dies of a heart attack because “even with all of these powers, I still couldn’t save him.” Teachable lesson there, Kal – and one that will inform many of your future decisions as a protector of “truth, justice and the American way.” (In the Donner version anyway.)
Also, Snyder wants us to believe that Kal kills Zod because he had no choice! Zod was gonna heat-vision that family to death!
So, only then he finds the strength to do effective bodily harm to Zod? This after they’ve been having an aerial fistfight in which they sustain virtually no damage? Again: lazy writing that caters to the demand for more punching! Lazy writing made worse by the fact that Zod just made the case that he’s protecting what he was genetically engineered to protect. That’s not evil enough for a main villain. It’s pitiable. He’s not sadistic or cruel so much as he’s trying to maintain what he sees as “the greater good” even if he’s crazy, angry and misguided. But think about it: If Earth people had to relocate to another populated planet, we’d totally take over and think nothing of dropping a Target and Starbucks smack dab in the center of the alien planet’s red-sun-worshipping sacred ground.
5. Kryptonian jargon. It’s confusing, useless and poorly named. The only thing sillier than Kevin Costner being whisked away like Dorothy is all of the jargony, macguffiny, mumbo jumbo about things like a “codex” and (God help me) a “world engine.” I get that the villains are up to terraforming Earth into Krypton II, but did we need knowledge of Kryptonian science to make this effective? (I’m not saying bring back the crystals, but didn’t they do the job without us having to know exactly what they were doing?) Also did we need over-explanation of the House-of-El family crest? I mean, it works, but that was also done in Superman: The Movie – without the need for dialogue exposition I might add. Can’t we, the audience, sort that shit out for ourselves?
While they’re at it, why not explain why Kryptonians speak English? And have “military generals” that say things like: “Where did you train? –on a farm?!” Because it’s unnecessary. Like Star Wars prequel politics, we stop paying attention to what it all means halfway through the movie because we don’t care. A full season of Battlestar Galactica had less in-your-face fiction-based science.
6. Important elements left out. Most disappointing – and fatal, I think, to MoS’s potential acceptance by his *ahem* older fans – is what’s missing. I’m guessing a lot of this is to stretch the origin story even further into the inevitable sequel, by waiting to introduce REPORTER, Clark Kent, as a coda before the credits. For all the bitching fans seem to do about superhero movies being oversaturated with origin stories, this makes no sense. (It’s the ol’ Prometheus switcheroo, where we know there will be another movie or why else put Guy Pierce under all of that terrible old man makeup?) Without Clark Kent, the intrepid, mild-mannered reporter for the Daily Planet, there’s no signature Superman transformation to get a kid’s heart racing. It also means no real fun with glasses, double identities and the balancing act required to keep reporter and hero separate entities in the eyes of the public and, most importantly, Lois Lane.
Does NO ONE else have a problem with the fact that, throughout most of the movie, Lois is fully aware that Clark Kent and Kal-El are one and the same? It’s one of the primary tropes of the Superman mythos and it’s snuffed out, and what’s worse: for no discernible reason. (Will he be giving her one of those Superman II-style Forget Me Now kisses to reboot her memory later?) Lois seems to exist solely to be rescued by Superman, awkwardly bridge scenes and provide a quasi-romantic moment in the last act so that our two primaries can share a head-scratching kiss that is completely unearned by the story’s wobbly narrative.
Finally, a word about the inexplicably maligned Superman Returns:
What’s everyone’s beef with it? Brandon Routh’s performance was spot-on and the character, well developed. Yes, it used Donner’s movies as a jumping off point but I was glad. It wasn’t a sequel so much as it existed in the same universe. Donner directed most of Superman II before the Salkinds replaced him, mid-shoot, with British director, Richard Lester, who admitted to not giving a shit about Superman and who specializes in comedy.
Snyder and Nolan don’t seem to give much of a shit about Superman either. Thus, we get a stoic, humorless hero and a soulless movie that seems hell-bent on being different for difference-sake. “Let’s make Perry White … BLACK! Let’s modify the costume almost completely! And let’s make the final battle … Well, can we go bigger than The Avengers? Let’s try! … And don’t forget! MORE PUNCHING!”
MoS’s flying sequences are the most well rendered of any Superman movie – I’ll give it that. And Cavill looks great in the cape (and there’s less wrong with his performance than there is with the writing of the character), but there’s more to Superman than that. And Team MoS doesn’t seem to understand or care. They just want to out-action every Superman movie that came before and it’s obviously priority one.
I think the lesson to be learned here is an easy one. Superman is a tough hero to bring to the big screen, now more than ever. Different times require different movie heroes. (It’s why post-Last Crusade Indiana Jones movies can’t be done right. It’s why the return of Star Wars is/was a lost cause. And there’s a reason Bill Murray is telling Dan Akroyd to fuck off with his Ghostbusters III dream.) Someone got Superman right once. For my money, SR came close for many pre-millennial fans. (And critics. Note the 75% approval rating on Rotten Tomatoes compared to MoS’s “rotten” 57% … but who pays attention to critics? … oh … wait. Nevermind.) MoS seems to be pleasing younger audiences with the spectacle of its relentless battle scenes, spaceships (Spaceships?!), mass destruction and thin characterization. I don’t blame them though because that’s consistent with the movie heroes they’ve grown up with. (See: Transformers) Perhaps it’s time to just accept facts: No one is ever going to make a modern Superman movie that works for everyone. I’m of the belief it just can’t be done and I hope to God people stop trying. (Not likely.)
As for a Justice League movie? Just say no.
by Steve Habrat
With Christopher Nolan making the decision to bring his Batman trilogy to an apocalyptic close and 2011s The Green Lantern bombing horribly at the box office, DC Comics has been forced to turn to their last A-list hero in a final attempt to hang with comic book juggernaut Marvel Studios. Now we have Zack Snyder’s Man of Steel, a gritty and epic reboot that is the Superman film we deserved way back in 2006. DC Comics made a grave mistake when they allowed Bryan Singer to craft another sequel to Christopher Reeve’s Superman films of the late 70s and 80s, a flub that has actually ended up hurting Snyder’s breathtaking reboot of the big blue boy scout. Man of Steel has taken quite a bit of negative criticism for its decent into massive action set pieces in the final stretch of its runtime, something that Singer wasn’t as eager to do in his wandering effort. The fact is that Man of Steel is seven years too late and it is entering a market that has been saturated by Marvel Studios. If this film would have been released in 2006, I guarantee it would have been met with as much praise as 2005s Batman Begins. That being said, Man of Steel is still a powerful entry into the superhero genre, a film that is perfectly grand for a true-blue do-gooder. It completely rejects the sunny optimism of the previous Superman entries and embraces a heavy heart of darkness that many fans may not be quick to warm to. In my opinion, it is just what the legendary superhero needed.
Man of Steel begins on the planet Krypton, with the wise scientist Jor-El (played by Russell Crowe) and his wife, Lara (played by Ayelet Zurer), giving birth to a baby boy they name Kal-El. With the planet of Krypton doomed to destruction, Jor-El and Lara send their son off to Earth, where he will have a chance for a survival. Meanwhile, General Zod (played by Michael Shannon), the military leader of Krypton, attempts to take over the planet with a handful of loyal followers including the vicious Faora (played by Antje Traue). Zod’s attempt to overthrow Krypton’s counsel is prevented and as punishment, he and his followers are banished to the Phantom Zone. Thirty-three years later, Clark Kent (played by Henry Cavill) is a mysterious drifter with superhuman abilities. He largely remains in the shadows, working odd jobs and occasionally saving people from horrific accidents. Word gets out about a mysterious object found in the ice in the Artic, which catches the attention of Pulitzer-Prize winning journalist Lois Lane (played by Amy Adams). Lois sets out to do a piece on the mysterious object, but as she snoops around the dig, she comes face to face with Clark, who has also taken an interest in the object. After Lois is injured, Clark narrowly saves her life and then disappears. Shaken by what she has seen, she begins digging into rumors about a drifter who always seems to be in the right place at the right time. Clark, meanwhile, uncovers secrets about where he came from and learns about his superhuman abilities.
Almost instantly, Snyder, screenwriter David S. Goyer, and producer Christopher Nolan set their vision of Superman apart from the previous attempts through a gritty and emotionally riveting stage setter on the crumbling planet of Krypton. Gone is Donner’s neon crystal environment and in its place is a gunmetal gray landscape full of zippy spaceships and roaring and soaring alien beasts. There is plenty of exposition about Krypton and it is spiced up through bone-snapping fistfights and blaring explosions that dwarf anything we saw in Superman Returns. While this sequence ends in tragedy, there is still plenty of optimism from Crowe’s Jor-El, who is convinced that Kal-El will be a god to the people of Earth. When Snyder shifts clumsily to Earth, Nolan’s gloomy cinematic fingerprints begin to emerge. The filmmakers take their time working up to Superman’s big reveal, spinning a soulful tale of a man who is completely at odds with his abilities. To make things worse on the guy, he is entering a post-9/11 world that trembles in fear over the very idea of a man that can glide over the clouds. Despite numerous attempts to convince us that he means no harm, he is still met with suspicious eyes from the jumpy U.S. government.
The most pivotal part of Man of Steel is Henry Cavill’s performance as Kal-El/Clark Kent/Superman. Cavill is absolutely excellent as an outcast who has been warned not to reveal his superhuman abilities to the world. He wants to help any way he can but the fear of rejection hangs heavy over his head. Cavill uses his eyes to convey this constant vulnerability and confusion, looking to the stars and his earthly father, Jonathan Kent (played by Kevin Costner), for guidance. While the new vulnerability is great, wait until you get a load of him in a fight. There is a surging intensity and almost a pulsing anger buried deep within his character that was completely unexpected. When Cavill is finally allowed to stop brooding, it is easy to see why he was chosen for the role. He is just bursting with all-American charm and he certainly is a warm figure of hope, even if he isn’t relegated to saving a kitten from a tree or helping an old lady across a busy Metropolis street. No, this Superman has bigger fish to fry when Shannon’s General Zod comes calling. We all know that Shannon can go fully crazy when he wants, and he certainly does get a little nuts with General Zod, but there is a measured insanity to his performance. He is a man driven by the love of his planet and he will stop at nothing to carry out his mission.
Then we have Amy Adams as the no-nonsense Lois Lane, who early on proves that she can hang tough in a room full of guys. Her strength and determination is certainly well played, but near the end of the film, her character is slowly shifted to damsel in distress, which was a bit disappointing. There was also a lack of build up in her romance with Supes, which sort of felt stuffed in there because it had to be. They share plenty of scenes but that spark just didn’t seem to be there. As far as Kevin Costner goes, he shines as Jonathan Kent, Clark’s adoptive father who constantly warns Clark against revealing his powers to the world. He shares a scene with the teen that is guaranteed to send chills down your spine. Russell Crowe is strong and sturdy as Jor-El, Clark’s biological father who believes that his son will be the Christ-like savior that Earth needs. Laurence Fishburne shows promise as the stern Daily Planet editor Perry White, a small role but one that I feel will be elaborated on in future installments. Diane Lane is affectionate and understanding as Martha Kent, who has to walk and talk a terrified Clark through his emerging abilities. Antje Traue is wickedly evil as Zod’s right hand woman Faora, who snarls threats like, “for every one you save, we’ll kill a million more.” Now THAT is a threat if I’ve ever heard one.
When Man of Steel finally ditches all the character building, the film dives into a climatic battle that is fittingly colossal for Superman. There is an adrenaline pumping battle in the streets of Smallville and the end man-a-mano between General Zod and Superman in the streets of Metropolis laughs at every superhero finale that has come before it. As far as criticisms go, there are a few plot holes that are difficult to ignore and Clark’s education about his home planet and abilities from a holographic Jor-El seems a bit brushed over. There are also a few lines of dialogue that will make you giggle and not in a good way. I should also mention that Snyder bashes us over the head with the Christ references, something that Singer was also guilty of. In case you don’t see the similarities between Jesus Christ and Superman, wait for the scene that finds Clark Kent wandering into a church and confiding in a nervous priest. Overall, while it isn’t perfect, Man of Steel certainly sets the stage for a refreshed Superman franchise for our dark times. It has a unique hand-held visual style and features a pounding score that only Hans Zimmer could provide. Snyder, Goyer, and Nolan successfully manage to wash away the sour taste that Singer left in our mouths and leave us wanting more from the hero that stands for truth, justice, and the American way.
by Steve Habrat
Severed heads as high art? Welcome to the world of Zack Snyder’s 300, a chiseled slice of masculinity based on the comic series by Frank Miller that enjoys shouting at the top of its lungs over the endless swirl of slaughter at its center. Considered the ultimate “guy movie”, 300 looks like a painting that has sprung to spitting and snarling life as CGI blood splashes across the sea of clanking swords. This carnage is beautiful, this battle a barreling ballet of firm defiance and ferocity but one that we have seen previous times in countless other period epics of this sort, here it just boasts an extra layer of gloss. 300 sells itself on the idea that it is going to rethink that sword-and-sandals epic and to an extent it does, that is if any of what 300 has to offer came as a surprise to the audience. It is hard to believe that Snyder and Warner Bros. would be so eager to show us everything their film had to offer before we have even seen it but that is the sad truth about 300. If you saw the trailer for the movie, you basically saw the best parts of this picture. The only thing you are missing out on is the severed limbs that dance across the screen and a soft-core sex scene that further earns the R-rating for nudity. Let’s be honest here, you are not coming into this film to hear any of these beefcakes deliver their lines. You came to this party for the sex and violence, now get in line.
300 begins with a flashback narrated by Dilios (Played by David Wenham), a Spartan solider, who explains the back-story and training of Leonidas, the man who would become king of Sparta. The back-story details the fierce training that a Spartan child goes through, molding them into hardened warriors hungry for battle and victory. The film then flashes ahead and introduces us to adult Leonidas (Played by Gerard Butler), who is now the valiant king of Sparta. One peaceful day, a Persian messenger rides into Sparta and demands that all of the people of Sparta submit to God-King Xerxes (Played by Rodrigo Santoro). King Leonidas and his wife, Queen Gorgo (Played by Lena Headey), refuse to submit to the God-King and his loyal group of Spartan soldiers kick the messenger and his accompanying soldiers down the biggest well you have ever laid eyes on. Leonidas knows that murdering the messenger has provoked a Persian attack so he seeks out the Ephors, a corrupt group of leprosy-ridden priests who have to give to okay for war. The Ephors refuse to give their blessing to Leonidas and facing annihilation at the hands of the Persians, the brave King rounds up 300 of his bravest and strongest soldiers to meet the Persians at Thermopylae, where the Persians’ numbers will count for nothing against the Spartan’s superior fighting techniques. Meanwhile, Gorgo has to deal with corrupt politicians behind the walls of Sparta.
The ultimate exercise in visual brawn over screenplay brain, 300 gets far despite not having much going on upstairs. It is no secret that many have viewed 300 as a conservative comment on the War on Terror and as you look closer, it is easy to see how history has been used to mirror present day realities. The problem with 300 is that it doesn’t have anything particularly insightful to say about the War on Terror and instead glorifies the art of war, putting more emphasis on the art than the horrors of battle. 300 also seems to exists to feed the masculine egos of all the alpha males who hang on every shriek that erupts from the mouths of the Spartans. Anyone who lacks chest hair practically grows some instantly just by touching the DVD case. And while there is some flexing action to be found, most of the fighting has been already glimpsed in the spirited trailer that almost everyone has seen. There is some fun to be had in the montages of combat but it becomes a bit redundant and meaningless as the Spartans hack their way through one eccentric clan after another. It begins to feel like a video game after a while, complete with boss rounds.
The one thing I have to praise Snyder for is the way that he casts a group of unknown actors and actresses. This allows the characters of 300 to really come to life rather than be overshadowed by a familiar face that is plastered all over the tabloids. Gerard Butler disappears into the role of King Leonidas and now it is hard for me to take him seriously in other roles that he tackles. A blessing and a curse, I’m afraid. Butler does do a pretty good job with the one–dimensional role that Snyder dumps on him. All the role requires is a perfect physique and the ability to yell really loud. Luckily, Butler becomes a teeth-gritting force that does allow affection to bleed through his masculine intensity. Lena Headey is present for eye-candy but she insists on have the strength of twenty Spartan men, which is welcome in this sea of alpha males. Rodrigo Santoro as Xerxes is asked to portray the God-King as an ostentatious ruler who is clearly a homosexual. While I understand he is supposed to be the villain here, you can’t help but pick up on negative light shed on his sexuality, which further adds to the conservative reading of the film. The other familiar face is Michael Fassbender as Stelios, an eager warrior who gets the film’s coolest line. Naturally, he is a standout here, which should come as no surprise to anyone who is familiar with him.
While it may rethink the sword-and-sandals epic visually, 300 doesn’t do much for narrative but you don’t really care. There is plenty here to entertain you for its two hour runtime and there is absolutely nothing wrong with that. The battle between the masked Immortals and the Spartans is the highlight of the film and I was on the edge of my seat waiting to see the superior fighting style of the Spartans (they brag about it enough!). Still, you can’t help but yearn for more flesh and blood authenticity in all the artificiality but what you see is what you get. You will also long for some sort of a surprise but very few will come your way, so don’t hold your breath. Grabbing history by the hair, dousing it in comic book colors, and then doing a bit of lazy rewiring, Snyder takes a step back from the incisive filmmaking and storytelling that he showed us with his spry remake of Dawn of the Dead. With 300, he just can’t seem to shake his obsessive infatuation with the eye candy and that is the ultimate disappointment. Still, you’ll root for these 300 Spartans until the very end even if you know the outcome. So sit back, crack open a PBR, and marvel at the many ways that severed heads can spin through the air.
300 is available on Blu-ray and DVD.
by Steve Habrat
One of the most controversial comic-to-movie-screen adaptations is without question Zack Snyder’s 2009 superhero epic Watchmen. To many comic book aficionados, Dave Gibbons and Alan Moore’s stunning DC Comics graphic novel was considered un-filmable by many who have poured over the blood drenched pages. I have to admit that I fell into the camp that didn’t want to see Watchmen in movie theaters but I was left speechless when I saw the rhythmic trailer in the summer of 2008. Many film geeks consider Snyder a visual director who can’t properly handle a narrative, something that the graphic novel thrives on. So, did the un-filmable turn out to be filmable? For the most part, yes, Snyder took great care in bringing this incredible tale to the big screen, pining over the smallest details on every single page right down to the smallest brushstroke of color. It was gripping, philosophical, jarring, and gorgeous all in the same breath but what it truly lacked was accessibility. I attended the midnight showing of Watchmen with a group of my friends, several who had never read the graphic novel. I was so excited to have them see this movie but when we emerged after two hours and forty minutes, they were less than impressed. They didn’t understand what all the fuss was about. I guess you have to read the comic to really get inside this one.
Without giving too much away about Watchmen, I’ll stick to the bare basics. Watchmen takes us to an alternate 1985, where the world is used to superheroes leaping across the rooftops of buildings and intervening with criminals of all sorts. Superheroes have been a part of daily life since 1938, when a small group of masked avengers known as the ‘Minutemen’ formed an alliance and started fighting crime. As the ‘Minutemen’ began to age, a new generation of crime fighters emerged called the ‘Watchmen’, a new fraternity that ultimately was outlawed by Richard Nixon. Nixon, however, used superheroes to win the war in Vietnam, which has led to multiple re-elections into the 80s. He primarily used the deadly Dr. Manhattan (Played by Billy Crudup), a real-life “Superman” who has gained incredible powers through an unfortunate accident and is now considered a living, breathing, and glowing government weapon. Watchmen begins with the aging hero The Comedian/Edward Blake (Played by Jeffrey Dean Morgan) getting confronted in his apartment by an unknown assailant and being brutally murdered. The police wave the murder off as just a disgruntled old villain that came back to take revenge on The Comedian but masked vigilante Rorschach (Played by Jackie Earle Haley), who continues to prowl the streets even though superheroes are banned, suspects that there may be a bigger plot to wipe out former masks. Rorschach seeks out his old partner Nite Owl II/Daniel Dreiberg (Played by Patrick Wilson) and fills him in on his theory. Dan disregards Rorschach but begins warning other former heroes as a precaution. To make matters worse, the United States and Russia are on the brink of nuclear war.
There was no way for Snyder to bring Watchmen to the big screen without pissing off at least one or two fans. Along with his screenwriters David Hayter and Alex Tse, the crew makes a massive oops by tinkering with the grand finale that did send this fanboy into a tizzy. I was so disappointed that the ending was reworked, taking me a few days after seeing it to really get over my resentment. But then I got to thinking, “Well, if they would have kept the original ending, the film would have been infinitely longer than it already was”. Another aspect that outraged me about Watchmen was the fact that Snyder clipped out the comic-within-the-comic interludes that were found in the comic books. He did okay by releasing a companion DVD that told the story of the Tales of the Black Freighter but I desperately wanted this in the film itself. Once again, I understood that this would have added another half-hour or so to the runtime but I guess I would have sat through a five hour long interpretation of Watchmen if it was available. Don’t let these complaints fool you, I still loved this movie and it did live up to my expectations, which were huge, mind you. I thought there were several moments that were jaw-dropping, the coolest being the opening fight sequence that leads in to one of the most incredible opening credit sequences ever put on film. It has to be seen to be believed. If you have seen the film, even the most disgusted fanboy has to admit it was a spectacular and stirring moment for all.
While Watchmen does have some of Snyder’s trademark slow-motion-into-sped-up fight sequences, the film is interested more in the shattered American Dream and what it takes to bring about peace. Each hero in Watchmen has their own code for how the deal with crime, some believing that “dogs should be put down” while others think they should be turned over to the proper authorities. In the old days, the line between good and evil was as clear as day for the ‘Minutemen’, something the remaining members of that retired group look back on fondly. In the “present day” of Watchmen, things are not so black and white. While Watchmen is a superhero movie, it lacks an arch villain, at least one that really plagues each mask through the lengthy runtime. It is society itself that the group grapples with. Are the “good” citizens worth saving or should we just give in to a war that will ultimately consume us all? Watchmen takes a scary detour when Snyder pulls back the curtain on the Nixon administration, further hinting that we may not be able to trust our leaders in the face of annihilation. They may hand us over to a fiery death just to make peace, or at least fight back against the threat, or simply to save their skins. Each time I watch Watchmen, I still get chills when one of Nixon’s advisors tells him that if nuclear war occurs, the whole east coast will be wiped out and the winds will carry the radiation to New Mexico. Middle America will be okay, which is good news, all things considering. Tell me that is not powerful stuff.
Watchmen has been criticized for some of the performances that make up this mound of ideas. The standout is by far Jackie Earle Hayley’s Rorschach, a fedora-wearing bad ass who growls through his oily mask as he dispatches criminals in the most gruesome of ways. We see a good majority of the story through his ink blotches as he asks us if pedophiles, rapists, and serial killers should really be put behind bars. His simple answer is no but wait until he spouts of the complicated one. He will turn you to ice. Then we have Crudup’s disconnected Dr. Manhattan, a glowing God who single handedly wins Vietnam in about a week. Much of his character is CGI but his distant voice is what truly resonates. Malin Akerman shows up as Laurie Juspeczky/Silk Specter II, a leggy avenger who longs for the affection of her boyfriend Dr. Manhattan. Wilson’s Nite Owl II is appropriately lost, a flabby has-been who hides behind cartoonish spectacles and searches for an excuse to put on his old armor. Jeffrey Dean Morgan is a knock-out as the slimy Comedian, a man who has made some poor choices in his life, laughed at human suffering, and vomited at the American Dream, all while firing his shotgun randomly into a disgruntled crowd of protestors who howl over the very idea of superheroes doing the job of the police. Also on deck is Matthew Goode as Adrian Veidt/Ozymandias, a wealthy former-mask who was known for his speed, strength, and smarts. He is considered the intelligent man on the planet and he is a fascinating character, but Snyder brushes over him, which is very disappointing when it comes to the last act twist.
There is almost too much to be said about Watchmen and it truly is a difficult film to review because there is so much going on within it. There are so many ideas swirling around inside it that we almost loose focus of what the film is actually trying to convey, which is a bit disappointing. The big question here is what it takes to gain peace, but that is just one slice of the pie. I will say that at almost three hours, the film never has a dull moment. There is plenty of action, gore, and sex to keep the younger males busy while Snyder slyly whispers bigger questions into the ear of those willing to look closer. Watchmen also forces conservatism and liberalism to jump into the ring to see who will ultimately triumph. I’ll leave it to you to figure out who trumps the other. While it is impossible for me to cover all the ground that Watchmen covers in this review, I will finish by saying that I think Watchmen is a beautifully ornate study of the superhero. It is well spoken and hypnotic but also a bit bloated, but it still holds your attention throughout the entire ride. I also advise that you read the graphic novel before approaching the film because some of the smaller touches will make more sense. Not perfect but certainly very good, in my opinion, Watchmen stands as one of the best superhero movies out there, with tons of layers to peel back and explore for years to come.
Watchmen is available on Blu-ray and DVD.
by Steve Habrat
George Romero has publicly complained about Zack Snyder’s 2004 remake of his 1978 zombie epic Dawn of the Dead, griping that the filmmakers never really asked for his permission. I wonder if he has seen Steve Miner’s 2008 remake of Day of the Dead, which knocks off Snyder’s Dawn almost every chance it gets while featuring an embarrassing script and zero traces of social commentary, which is what Romero is known for. As brain dead as one of its roaring zombies, Day of the Dead makes a few nods to the original 1985 Romero film, mostly in the character’s names, but the one positive is that it doesn’t attempt to regurgitate the original’s plot frame by frame. Miner basically makes the film look like a heavy metal music video with sets that look like leftovers from the first Resident Evil, flashy cut scenes, shaky camera work, and an all too brief run time. Making matters worse, Miner fills the film with a handful of crappy C-list actors who can’t find work in A-list films and he almost successfully turns the career of Ving Rhames into a rotten joke.
When a strange flu-like virus hits a small Colorado town, the army rushes in to quarantine those who are sick. The quarantine is lead by Captain Rhodes (Played by Ving Rhames, who showed up in Snyder’s Dawn remake), Corporal Sarah Bowman (Played by Mena Suvari), Private Bud Crain (Played by Stark Sands), and Private Salazar (Played by Nick Cannon). Soon, the infection begins taking a drastic turn as those who are infected begin seizing up and bloody wounds start showing up on their faces. After the strange frozen state, the infected begin waking up and turning into acrobatic zombies who can crawl on ceilings, walls, and sprint around like marathon runners. Soon, Rhodes, Sarah, Bud, and Salazar have to locate Sarah’s brother Trevor (Played by Michael Welch) and his girlfriend Nina (Played by AnnaLynne McCord), and uncover what is causing the citizens to turn into flesh hungry cannibals.
Day of the Dead has so many poorly conceived moments; you have to wonder if anyone was paying attention while making it. Screenwriter Jeffery Reddick borrows the aspect that the zombies are much more aware from Romero’s original, but the film applies it in the worst ways imaginable. The zombies posses the ability to leap around at blinding speed, crawl up walls, and leap from floor to ceiling in the blink of an eye. Yet in one scene, Trevor and Nina are fleeing an overrun hospital and find themselves pursued by a hoard of zombies. Trevor and Nina begin pushing wheelchairs, gurneys, and various medical equipment into the middle of the hall to stall their attackers and the zombies keep tripping and falling over it. You would think that zombies that are capable of crawling around like Spider-Man could figure out a way around some debris pushed into their way. Apparently, no one stopped to ponder this flub. Many other questions arise, like why the zombies skin begins to instantly rot away, why the zombies are super zombies, and why are those so aware? Furthermore, why are only some super zombies and others are not?
Day of the Dead also makes the blunder of shedding light on what caused the zombie outbreak and not leaving it a mystery. Part of the fun of the Romero originals is the not knowing where the virus came from. Day of the Dead concludes with some half-assed explanations that are more preposterous than practical. As was pointed out recently by film critic Jason Zinoman in his book Shock Value, the scariest movies lack a clear explanation of the horror that is occurring. Since Reddick and Miner are doing a remake of a Romero film, you would have thought one or the other would have said, “Hey, maybe we shouldn’t add the explanation!” At times, the characters discuss an airborne virus and that some people have a natural immunity to it. I suspect that Miner and Reddick watched Robert Rodriguez’s Planet Terror a few times before they began making this film, as there are more than a handful of striking similarities.
If the film itself isn’t bad enough, Miner’s cast makes things even more excruciating. The lowest point of the film is the inclusion of Nick Cannon, who tries to play a tough guy bully but is the furthest thing from any of those things. He walks around dual wielding 9mms and erupting with rancid one-liners that leave you hoping that his character bites the dust early on. Spoiler Alert: he doesn’t. Suvari’s Sarah is one note and dry, putting no distinctive spin on the tough-as-nails heroine commando. Michael Welch and AnnaLynne McCord as Trevor and Nina are just stereotypical hornball teenagers, Nina only included to add some sex appeal to the film. They are also apparently very skilled at using automatic weapons, something the town’s gun shop is heavily stocked with. There is also the addition of radio D.J. Paul (Played by Ian McNeice), who is an overweight stoner with no purpose in the film whatsoever. Only Rhames and Sands, as Captain Rhodes and Bud, are the high points, giving minor depth to their pale outlines of characters. As hard as they try, they couldn’t save this shitshow.
While watching Day of the Dead 2008, it’s clear as, well, day why the film was straight to DVD. At a skimpy eighty some minutes, the film is simultaneously too long and too short. The film can’t muster up any anticipation or tension. Things just start happening and you just won’t care at all. It fails to produce any scares and Miner can’t even seem to get the jump scare moments right. The effects reek of a limited budget and the make-up on the ghouls doesn’t even compare to what Tom Savini did in 1985. So determined to ride the wave of the zombie craze that was stirred up by 28 Days Later, Dawn of the Dead ’04, and Shaun of the Dead, Day of the Dead is the lame poser of the group not to mention poorly timed with its release. For someone who is a diehard fan of this stuff like myself, heed my advice and just watch the Romero original instead of exposing yourself to this garbage. Day of the Dead ’08 should have only seen the light of day as it was being discarded into the garbage dump.
Day of the Dead 2008 is available on Blu-ray and DVD.
by Steve Habrat
After all the gun smoke had cleared and the credits crawled across the screen, it became crystal clear to me how Christopher Nolan settled on Zack Snyder for the reboot of Superman: Snyder simply showed him Sucker Punch. There’s absolutely no doubt in my mind that Nolan gushed over it either. Sucker Punch is a trippy puzzler that sends you stumbling from the theater to debate what the hell just happened with your friends, which is quite similar to what Nolan did with his towering Inception. But where Inception pulled off it’s elusiveness with refined sophistication, Sucker Punch takes the dirty, dusty road where dragons swoop from above, girls in fishnets wield 50 calibers, WWI zombie German soldiers leap from trenches, and our heroes bop around in a WWII bomber. And that is just naming a few of the oddities that Snyder lobbed into his obvious pet project. I’m sure by this point you’ve seen the other reviews of Sucker Punch and, to use a term from Mr. Obama, the film has taken quite a “shellacking.” Sure it’s big, loud, and completely overblown, but I oddly found myself enjoying the madness. What actually appalls me is that Battle: Los Angeles, a film that makes no attempt to be about anything except blowing everything up, actually received better reviews than this film did! ARE YOU KIDDING ME?!?! Did we see the same movie?
Maybe I was rooting for Snyder to actually pull off the impossible. Everyone under the sun has seen the unruly trailer. Snyder seemed like he wanted to shove every possible genre of film into one film to make one hulking masterpiece. One that encompasses everything from the kung-fu films to epic medieval fantasies. I truly found Sucker Punch to be a noble, and at times, refreshing attempt at it even if it was beginning to show signs of collapsing on itself. The film also has had a slight hypnotic affect over me in the sense that I am confident that there is more to this particular film than first meets the eye. The first time seems to be a shock and awe campaign to pin you to your seat but the more my mind wanders back and evaluates the little touches, the more I’m lured into wanting to uncover more about it.
I won’t dive to deeply into the plot of the film because some of it is up to you to piece together, but the film follows the starry-eyed, pig-tailed Babydoll (played by Emily Browning), who is admitted into a mental institution by her unhinged stepfather after she accidentally shoots her baby sister. It’s here that she falls under the care of the at times menacing and at times motherly but always vampy Dr. Gorski (played by Carla Gugino). Behind the walls of the institition, she embraces her new life in a brothel and learns to dance for the seedy men that come to drool over the young girls. Babydoll soon joins forces with the tough-as-nails leader Sweet Pea (played by Abbie Cornish), Sweet Pea’s gung-ho little sister Rocket (played by Jenna Malone), the uneasy “pilot” Amber (played by Jamie Chung), and the big guns specialist Blondie (played by Vanessa Hudgens). The gang rapidly starts plotting an escape from the institution/brothel and through their wildly untamed imaginations, envision elaborate dream-missions to find the supplies they need to break out of the big house.
While the film marvelously finds a perfect balance between the hectic dream worlds and the rotting walls of the institution, the film tries to cram so much in that points are a little to overpowering. There is an incredibly inspired sequence that takes place on a WWI battle field complete with zombified German soldiers wearing ghastly gasmasks, biplanes falling in flaming ruin from the sky, earth shaking explosions and a lofty android walker with a rabbit face that Amber maneuvers into a outrageously bad ass death machine. It’s a truly breathtaking action sequence that is worth the trip to see the movie alone. Sadly, the film stumbles when it ventures into the realm of medieval fantasy in a war sequence that smashes WWII together with the Lord of the Rings. I give it credit for being atypical but it’s shockingly monotonous and lacking in any sort of looming danger. This leads me to my next compliant, which is the fact that all the girls are magically scrappy superheroes. There is never any concrete justification and we are supposed to just embrace it. One sequence that is especially irritating is when Babydoll confronts three giant samurais. She flips through the air so repeatedly that I almost wanted to shout “ENOUGH ALREADY! WE GET IT!”
Ultimately, Sucker Punch overcomes the obstacles and still manages to be engaging. I still found myself consumed by much of it and the writing, although uneven, is never less than interesting. The dialogue is good but not great and the premise alone never lost me. The performances’ by the young actresses are finely tuned and convincing. I was extremely worried that they would be wooden. The standout is without question the wounded Rocket. She kicks ass while nursing the burden of a broken heart. I actually breathed a huge sigh of relief that the film never descended into a perverse fantasy for Snyder. While the girls are adorned in fishnets and lingerie, the film is surprisingly tame. We never get a glimpse of the burlesque dance sequences and instead are substituted with the dream world. An even bigger relief is that the film counters Snyder’s fixation with masculine heroes. I enjoyed the girl power feel that he explores this time around. It’s more substantial than his homoerotic bloodbath 300. It still comes in third to his colorful Dawn of the Dead remake and spacey adaptation of graphic novel juggernaut Watchmen. On top of it, Snyder further refines his coarse camerawork and his fluid montages of slow motion into real time. It all flows so gorgeously and it’s impossible not to eat it all up.
The aspect that truly wounds Sucker Punch is the ending where, like Watchmen, it crams all of it’s “profound” ideas in a brushed over climax that feels curiously unsatisfying. This is where the film truly flat lines. It piles on nonsensically cryptic monologues on top of some obvious visual symbolism. The film is convinced that it is a fine wine that will be savored as the taste sticks in your mouth. Unfortunately, it’s just a high-end, calorie-loaded beer that is surprisingly tasty in the beginning. A taste that you and your buddies exclaim about for the first few sips but when you reach the bottom of the bottle, you just gulp down the last drops to finish it. It wasn’t as refreshing as the first few half but it wasn’t impossible to polish off. You’ll oddly find yourself wanting to experience it all again to peel back some more layers and it will make for some good conversation in the long run.
Sucker Punch is now available on Blu-ray and DVD.
by Steve Habrat
By now you probably understand that I believe George Romero’s 1978 film Dawn of the Dead is a towering achievement in independent and blockbuster filmmaking. It’s so sprawling and was achieved with very little. When the recent fixation with horror remakes started to show their ugly mugs, I crossed my fingers that Dawn of the Dead wouldn’t be touched. I had seen what Tom Savini did to Romero’s first outing with the 1990 remake of Night of the Living Dead. Inevitably, the news came that Dawn of the Dead would be getting a makeover, and it came as a personal blow. How can they do this to a classic? It’s like remaking The Exorcist? Any real fan of Romero would oppose this blasphemous decision! I sulked to the theater after school on a cool spring day to be a witness to this travesty, eager to see what new they’ve done with the classic and nervous about what they got wrong. I heard that the original cast members make small appearances, it was more action packed, and not as bright as the brainy original. The lights went down in the surprisingly packed theater, the opening moments flashed across the screen, a CGI model of the original film’s helicopter glided through a war zone, sprinting zombies dashed around like marathon runners, and then came the stock footage heavy opening credits set the apocalyptic moans of Johnny Cash. I couldn’t believe my eyes. They were getting it right and giving it it’s own hellish life.
I have to applaud director Zack Snyder, who seems to be a big fanboy at heart, for respecting the original film. He had the decency to make a film with some thought and originality rather than lazily making a shot for shot duplication of a film that was already good enough. Some people like shot for shot remakes, but in terms of a horror film, if you’ve seen the original and then you see the shot-for-shot remake, there is absolutely nothing in the way of surprise. There is plenty to be surprised about in 2004’s Dawn of the Dead, a thrashing and teeth gnashing zombie film that is both undeniably freaky and coated with a thin layer of black humor. One moment you’ll be giggling over a sniper sequence, in which characters pick which zombies to shoot from the roof of the mall based on their resemblance to celebrities and the next moment, your knuckles will be white for a thrilling rescue mission that turns into a chaotic escape through a sea of zombies. The film should be described as a roller coaster ride, but the misstep of the film is the blatant lack of a social commentary. The consumerism exploration is only touched upon, seemingly to satisfy those who enjoyed the underlying message of the original, but then it’s back to entertaining the screaming tweens in the front row who snuck into it.
Dawn of the Dead ’04 begins with what could very well be the best opening sequence in any motion picture in the last ten years. Nurse Ana (Played by Sarah Polley) arrives home after a long day in the ER, where an unusually large number of people are being admitted for strange illnesses and bites. The next morning, the little neighbor girl awakes Ana and her husband while lurking in their bedroom. After her husband takes a nasty bite to the neck and is turned into a shrieking ghoul (the zombies are very similar to the infected in 28 Days Later), she flees her collapsing neighborhood and hits the raucous streets to find safety. She ends up bumping into a bad ass, shotgun wielding cop Kenneth (Played by Ving Rhames), a television salesman Michael (Played by Jake Weber), and a terrified couple Andre and Luda (Played by Mekhi Phifer and Inna Korobkina). They decide the safest place to take refuge is the local mall, where they stumble upon a group of trigger happy security guards led by the domineering CJ (Played by Michael Kelly). The group begins to coexist and soon another truckload of desperate survivors comes banging on the delivery doors to be let in. They are lead by valiant Tucker (Played by Boyd Banks) and cowardly Steve (Played by Modern Family‘s Ty Burell). The group fortifies the mall so the rotting stenches can’t force their way in, but as the group begins to crumble apart, they must make a daring escape through the zombie army just outside the doors.
Dawn of the Dead ’04 revolves around more characters than the original 1978 film did. Rather than the measly four main protagonists, we have a large group, ranging from the usual good guys to the royal pains in the ass that any group like this would be made up of. This is a smart move on Snyder’s part, but it also hinders the viewer in their attempt to allow themselves to grow attached to any specific character. It’s the quality that really drove the original film. I cared about the original characters and when one bit the dust, we mourned them as if they were real and not a part of the cinematic realm. There are likable characters to be found in this jazzed up remake, mostly Ana, Kenneth, and Michael. The reluctant CJ finally comes around in the final stretch of the film and proves himself a hero. Getting the character set up correct is an integral part for a re-envisioning of Dawn of the Dead, and this one comes up half right.
What little remains from the original is the bright colors that are used in the film, running with the claim that Romero made way back when about it being his comic book film. Here Snyder uses Dawn of the Dead to announce his chiaroscuro approach to his work. It’s always really brightly lit or shrouded in darkness. It makes the film into a funhouse, which I admired, but sometimes felt like Snyder sees the original film as pure pulp filmmaking. It’s a trait that bothers me even to this day, and I’m sure that Romero was not pleased about it either. Romero has expressed some strong feelings about the film, mainly that they never even consulted with him or asked his permission to remake it. Sure, Romero intended to make something fun, but he also used the film to say something about our society. Well, at least they kept the ending gloomy.
I like Zack Snyder’s vision here and I the entertainment value on Dawn of the Dead ’04 is out of this world. One Christmas Eve on year, my cousins and I sat around sipping beers and wallowing in the aggressive temperament of this film. It does pack a few creep out moments and the mandatory jump scare, which every horror film feels the need to apply. It is stylishly made, designed to make all who watch it will walk away deeming it “cool”. And that is precisely how to evaluate Snyder’s body of work. He does things because he thinks its “cool” and everyone will like it. This is, however, Snyder’s strongest film he’s made. Despite its flaws, it’s original and just like one of Romero’s zombies, has an immensely likable personality. If for no other reason, it wins for its opening sequence and end credits. In this case, cool is king and surprisingly scary. Grade: A-