The Lords of Salem (2013)
by Steve Habrat
Rob Zombie could be one of the most polarizing individuals working in the horror industry. The mere mention of his name in a conversation can elicit either groans or praise, depending on that person’s taste in horror. Whether you love him or hate him, it’s undeniable that the man leaves a strong impression. It’s been four years since Zombie’s Halloween II, his reluctant sequel to his grisly 2007 remake of the John Carpenter slasher classic Halloween, and it’s been eight years since he unleashed The Devil’s Rejects, what is considered by many to be his unholy masterpiece. With his creative juices following again, Zombie now gives his fans The Lords of Salem, a static departure from his usual brand of hillbillies-from-Hell horror. Clearly drawing inspiration from early Roman Polanski, Stanley Kubrick, and Kenneth Anger, Zombie makes one of the most ambitious films of his career and you have to hand it to him for attempting to show a bit of range outside of the handheld grittiness that he was limiting himself to. The Lords of Salem is overflowing with overcast atmosphere and it packs plenty of shock scares that thankfully aren’t accompanied by a deafening musical blast, but the final stretch of the film is weakened by a flurry of satanic images that would have seemed more at home in a heavy metal music video rather than a serious-minded horror film about the Salem witch trials.
Heidi LaRoq (played by Sheri Moon Zombie) is a recovering crack addict living in Salem, Massachusetts. She shacks up in a small apartment with her landlady Lacy Doyle (played by Judy Geeson) and she works at a local radio station as a DJ alongside Whitey (played Jeff Daniel Phillips) and Herman (played by Ken Foree). One day, the station’s receptionist presents Heidi with a wooden box that contains a record by a mysterious band called The Lords. Heidi, Whitey, and Herman decide to play the mysterious record on the air, but as the hypnotic music grinds out, Heidi begins to suffer from horrific hallucinations. The music captures the attention of local historian Francis Matthias (played by Bruce Davison), who believes that the music may have a link to a coven of witches that were referred to as The Lords of Salem and hunted by Reverend Jonathan Hawthorne (played by Andrew Prine) in 1696. As the days pass, Heidi’s visions grow more and more disturbing, but things get even more bizarre for Heidi when Lacy’s suspicious two sisters, Megan (played by Patricia Quinn) and Sonny (played by Dee Walace), suddenly arrive at the apartment complex.
Abandoning the bludgeoning violence that he has become known for, Zombie takes a radical new approach to The Lords of Salem. The film begins with a filthy flashback that finds a coven of witches led by Margaret Morgan (played by Meg Foster) huddled around a campfire in the nude and howling about Satan. It’s shrill and graphic, but then Zombie instantly abandons this assault in favor of hushed pacing that hums with evil. The weather is gray, the leaves suggest that it’s October, and the ghostly specters that haunt Heidi slowly make themselves known. The spirits are revealed when Heidi walks slowly past her bathroom or when she flips the light on in a darkened room, but they are not accompanied by some loud soundtrack cue to make us jump. Zombie simply lets their sudden presence alone creep us out and it is very effective. As the film inches along, the hallucinations become more and more severe, one of the most disturbing being a satanic sexual assault in a church that finds a priest coughing up black sludge and Heidi catching a glimpse of a faceless ghoul walking his pet goat through a cemetery. It’s some seriously wicked stuff that is just extreme enough to work.
The biggest change in Zombie’s aesthetic is the use of static cameras in place of the gritty handheld camerawork that House of 1000 Corpses, The Devil’s Rejects, Halloween, and Halloween II all applied. There are crisp outdoors shots that called to mind some of the early moments of The Exorcist and there are prolonged symmetrical shots that wouldn’t seem out of place in a Kubrick film, a director that Zombie heavily admires. At times, the story and even a few shots near the middle of the film were reminiscent of Polanski’s Repulsion and Rosemary’s Baby, especially the inclusion of the three sisters who may be up to no good just down the hall. The end of The Lords of Salem is where Zombie begins to loose his handle on things, as he fires a string of psychedelic satanic images that would make experimental filmmaker Kenneth Anger smile. These acid washed images are loaded with faceless priests clutching dildos, Heidi riding a goat, a demonic dwarf waiting at the top of a grand staircase, a satanic rocker groping the dreadlocked gal, and images of Christ’s face contorting into the face of the devil himself. These images will shock those who are easily offended, but as they unfold before us, they start to resemble a music video rather than anything we would have seen in Anger’s Inauguration of the Pleasure Dome. They complete destroy that atmosphere of doom that Zombie worked so hard to build up but he doesn’t seem to care because he thinks they look great.
As far as the performances go, Zombie manages to capture some downbeat work from a slew of cult actors and actresses. His previous four films were loaded with a cast of colorful psychos who all cursed like sailors and looked like unused extras from The Texas Chain Saw Massacre. This is not necessarily the case for The Lords of Salem, as these characters all seem to be a bit more grounded than anything he has ever come up with. Sheri Moon Zombie steps up her acting game as Heidi, the recovering drug addict that is seemingly on the right path to happiness. Watching her slip into a world of madness is harsh, but Zombie wants it that way. Jeff Daniel Phillips gives a softer performance as Whitey, Heidi’s love interest that just can’t seem to find a way into her life. Ken Foree is laid back cool as Herman, the smooth-talking DJ that really seems to serve no purpose at all to the story. It seems like Zombie included him in the film simply because he is a big fan of Foree’s work. Geeson shows some serious menace as Lacy, Heidi’s secretive landlord, Patricia Quinn is frizzy intensity as the palm-reading Megan, and Dee Wallace’s Sonny is peculiarly seductive. Rounding out the main cast members is Davison’s Francis, a concerned acquaintance who may be too late to save Heidi’s soul, and Meg Foster as the cackling hell spawn Margaret Morgan, who bares rotten fangs right in the viewer’s face.
Despite some of the drastic shifts, The Lords of Salem isn’t without Zombie’s cinematic fingerprints. The soundtrack is filled with classic rock like The Velvet Underground, Mannfred Mann’s Earth Band, and Rush, all which heavily compliment the retro 70s feel of the picture. Budget restraints seem to have prevented Zombie from actually setting the film in the 1970s, but you can tell he desperately wanted to, as every character is dressed like they stepped out of that era. While it is a bit spare, there are several fits of Zombie’s stomach churning violence. A witch licks amniotic fluids off a newborn baby, one character’s head is smashed into hamburger meat, and a gruesome birth accompanies the neon evil at the end. Overall, Zombie has claimed that The Lords of Salem is his final trip into horror and if this is true, it finds him bowing out on a confident and frankly refreshing note. It is a bit more mature even if the final moments give way to strobe light silliness that wouldn’t even shock your grandmother. The Lords of Salem is all about atmosphere and scares that will curl your spine.
The Lords of Salem is available on Blu-ray and DVD.
The Devil’s Rejects (2005)
by Steve Habrat
After Rob Zombie’s cluttered and distracted 2003 horror debut, House of 1000 Corpses, failed to make an impression on critics and (most) audiences, the pressure was on the horror-loving Renaissance man to really step his game up as a filmmaker. In 2005, Zombie followed up the tie-dyed House of 1000 Corpses with The Devil’s Rejects, a grimy, snarling, and absolutely humorless decent into Hell. While many have labeled The Devil’s Rejects a horror film, I really hesitate to slap that label on it, as it never really even attempts to scare the viewer. Instead, it takes a page from the exploitation playbook and just continuously crosses the line and gets right in the viewers face just to watch them recoil in disgust. This film just flat out refuses to play nice, but then again, would you expect anything less from Rob Zombie? As if this tale of murder and revenge wasn’t intense enough, Zombie makes the wise decision to force us to root for the bad guys. That’s right, this time we don’t root for some group of brain dead teenagers or even the revenge driven police officer on a mission from God to prevail over this trio of death. Nope, we are rooting for that vile and downright rotten Firefly clan to blast and stab their way across the dusty Texas plains. It almost becomes a western, with the last of the true outlaws making their final stand in the face of annihilation. It is nearly a stroke of brilliance.
The Devil’s Rejects picks up in May of 1978, a year after the events of House of 1000 Corpses, with Sherriff John Quincy Wydell (Played by William Forsythe), brother of Firefly family victim Lieutenant George Wydell, leading a group of heavily armed police officers right to the Firefly’s front door. After a nasty shootout between the police and the Firefly family, Baby (Played by Sheri Moon Zombie) and Otis Driftwood (Played by Bill Moseley) manage to escape capture, but Mother Firefly (Played this time by Leslie Easterbrook) isn’t so lucky. Baby and Otis quickly get in touch with their father, Captain Spaulding (Played by Sid Haig), who agrees to meet up with his children so that they can plot their next move. While waiting, Baby and Otis find shelter at a rickety roadside motel and to amuse themselves, they immediately take a traveling band hostage. Spaulding suggests that they flee to a local brothel called Charlie’s Frontier Town, which is overseen by smooth-talking pimp Charlie Altamont (Played by Ken Foree) and his simple assistant Clevon (Played by Michael Berryman), both of which are friendly with Spaulding. Meanwhile, the relentlessly brutal Sherriff Wydell is hot on the group’s trail and he plots a trap that will bring down the rest of the Firefly family once and for all.
There is no doubt that the best part of The Devil’s Rejects is the opening fifteen minutes of the film. Zombie starts things off with a gritty early morning shootout and let me tell you, that shootout is just plain awesome. It is cleanly shot, in your face, and suspenseful from the first shot fired. It certainly proves that Zombie could do all-out action if he really wanted to. After wasting one character and capturing another, Zombie launches into an equally cool opening credit sequence set to The Allman Brothers Band “Midnight Rider” all while the picture keeps freezing to announce cast and crew members. It looks like it was ripped out of the coolest exploitation film from the 70s that you never saw. This opening sequence shows us that Zombie really means business this time around and that he is abandoning the psychedelic approach of House of 1000 Corpses in the Texas sun. From here on out, the film is relentlessly intense, but it never really ever becomes scary. There are sequences of gruesome torture, both mental and physical, but they don’t ever fill us with terror. Instead, they just make us massively uncomfortable, but that is exactly what Zombie wants to do.
Much like House of 1000 Corpses, The Devil’s Rejects is overflowing with colorful creeps to make your skin crawl. Moon Zombie is much better this time around as the giggling Baby, who can be all smiles as she seduces her victims one minute, only to snap into a demon-eyed banshee the next. Moseley is busy channeling Charles Manson as the stringy haired hippie killer Otis Driftwood. He is absolutely fantastic and wildly memorable as the grizzled outlaw who enjoys stuffing his gun barrel down the underwear of one poor woman and carving the face off one of another male victim. Then there is Haig’s Captain Spaulding, who once again manages to steal the entire movie. The first time around, we only saw a few glimpses of how sinister Captain Spaulding could be but here, he is 100% evil. He can be darkly hilarious as he terrifies a small child and he can be surprisingly soft as he howls along with Baby for some tutti fruity ice cream. We also have cult legends Ken Foree (Dawn of the Dead) and Michael Berryman (The Hills Have Eyes) as Charlie and Clevon, two shifty pieces of work who enjoy snorting cocaine and bickering about having sex with chickens. Last but certainly not least is William Forsythe as Sheriff Wydell, a stone-cold man of God who may actually be worse than the Firefly clan. He will stop at nothing to trap his victims and when he finally is staring them down, he resorts to some of the nastiest torture out there.
What ultimately turns The Devil’s Rejects into a winner is that Zombie doesn’t appear to be preoccupied with trying to overstuff the film with references to other horror or exploitation films. He is much more subtle this time around with his tips of the cowboy hat. Most of the references here come in the form of cult actors Foree, Berryman, Mary Woronov (Death Race 2000) and even P.J. Soles (Halloween), all of which will have seasoned horror and grindhouse buffs chucking to themselves but never overly distracted. One of my only complaints about the film is the fact that Zombie trimmed the Dr. Satan sequence from the film, something I never thought I’d be complaining about. If you have a copy of the DVD, it is worth checking out this particular deleted scene because it actually grounds the whole Dr. Satan thing in the real world, at least in my humble opinion. Overall, as a tribute to old exploitation thrillers and grindhouse revenge flicks, The Devil’s Rejects is a homerun. It is a twisted and erratic western that can be unbelievably brutal, but never very scary. This is a modern day exploitation classic and a masterpiece for Rob Zombie.
The Devil’s Rejects is available on Blu-ray and DVD.
Attack of the Remakes! Halloween (2007)
by Steve Habrat
I think everyone remembers where they were when they learned that there was going to be a remake of John Carpenter’s 1978 flawless horror classic Halloween. I remember I was at my best friends house playing around on his laptop when we happened upon the news. We were in shock, unable to process the fact that there was going to be a remake of one of the scariest films of all time. While half not surprised that Hollywood was going to tinker with a great thing, it still made me sick to my stomach because I figured they would hand the film over to some John Doe director who would screw it up royally. My anger turned to intrigue when I learned that the film was being written, produced, and directed by shock rocker turned filmmaker Rob Zombie. Rob Zombie! While I was a fan of the 2005 splatter flick The Devil’s Rejects, I was so-so with his day-glow Texas Chain Saw Massacre wannabe House of 1000 Corpses. Well, opening weekend came and me and my chums piled into a car and headed to the local theater to check out Zombie’s remake and I must say, we were all fairly impressed with what we saw. Just as nasty, mean, and brutal as I figured it would be, Zombie’s Halloween was actually a surprisingly eerie slasher film that was equally parts new and familiar at the same time, striking just the right balance. It also helps that Zombie populated his dingy remake with a slew of familiar B-horror faces that would make most gore hounds grin from ear to ear. But the most astonishing thing of all remains the fact that the film isn’t nearly as bad as it could have been. Whew!
Halloween 2007 introduces us to young Michael Myers (Played by Daeg Faerch), a ruthlessly bullied boy who already suffers from deranged tendencies. Michael shacks up with his stripper mother Deborah (Played by Sheri Moon Zombie), her deadbeat boyfriend Ronnie (Played by William Forsythe), his older sister Judith (Played by Hanna R. Hall), and his baby sister, only finding affection from his loving mother. On Halloween night, Michael finally snaps from his relentless torment and brutally murders a school bully, Ronnie, Judith, and Judith’s boyfriend Steve. With no recollection of the murders, Michael is taken into custody and sent to Smith’s Grove Sanitarium where is put under the care of kindly Dr. Samuel Loomis (Played by Malcolm McDowell). As the years pass, Michael becomes more and more fixated on papier-mâché masks that he makes in his cell. Dr. Loomis begins to suspect that Michael uses the masks to hide from both himself and the world. Fifteen years pass and Michael (Played by Tyler Mane), now a hulking adult, has stopped speaking to everyone. On the night before Halloween, Michael escapes from his cell and begins making his way back to Haddonfield to find his baby sister, now named Laurie Strode (Played by Scout-Taylor Compton). As Dr. Loomis rushes to contact the authorities, the body count rises as Michael ruthlessly searches for the only person he loves.
The argument has been made that Zombie misunderstood what made the original Halloween such a terrifying experience. It was the fact that we didn’t know anything about Michael or why he is killing anyone who crosses his path. Over the years, he has become known as the “Shape,” the Boogieman walking among us in complete silence. With Halloween 2007, Zombie is forced to dive into Michael’s background and in the process; he explains literally every single aspect of the character. We learn why he wears that legendary mask, what made him snap, that he demonstrated psychotic behavior before he went on his killing spree, and that he is pretty close with that old Dr. Loomis. All of this is complimented with heaping amounts of gore and profane dialogue that does get a bit ludicrous at times. Trust me, I’m no prude but at points you can’t help but picture Zombie hunched over a computer straining to think of the most repulsive dialogue he can. He certainly succeeds. Even though Zombie explains everything, I argue that he had no choice but to explain away the character. What else was he going to do? Hardcore Halloween fans would have grumbled if he would have done a shot for shot remake and thankfully, he didn’t resort to that. I give Zombie credit for daring to try something new with the character and taking a peak behind that legendary mask rather than doing what has already been done. I can certainly say that he does make Halloween his own to an extent because he leaves the ending relatively the same.
The acting of Halloween 2007 ends up being a mixed trick or treat bag of sugary sweets and bitter sours. Sheri Moon Zombie is better at the big-hearted mommy than I ever thought she’d be. She is sort of hit or miss with me but here she proves that she possesses some dramatic depth even if she is forced to spit out cliché lines of dialogue. I really enjoyed her bickering and fighting with Forsythe’s abusive boyfriend Ronnie. He was a real piece of work but he doesn’t stick around long. Faerch is so-so as little Michael, a little too forced but he is creepy when he finally slips into madness. Tyler Mane plays Michael Myers exactly how you would expect him to. He cocks his head from side to side but he stabs, hacks, and slashes just a little more violently than he did in the 1978 original. McDowell was a welcome presence as Dr. Loomis, an interesting choice to play Michael’s psychiatrist. McDowell gives it his all and he comes out with the best performance in the film. Then there is Scout Taylor-Compton as the slightly annoying Laurie Strode, a buttoned up teen with a dark edge according the skulls on her black hoodie. There isn’t really anything that particularly stands out about her and that is precisely her problem. She does prove to audiences that she is a hell of a screamer and her cries of terror could wake the dead. Kristina Klebe and Danielle Harris are on board as Lynda and Annie, Laurie’s friends who lack the fizzy magnetism that they had in the original film but they provide a little eye candy. Brad Dourif is second to McDowell as the skeptical Sheriff Lee Brackett and boy, does he come close to stealing the film from the good doctor. For fans of B-horror, keep a look for cameos from Ken Foree, Udo Kier, Danny Trejo, Clint Howard, Sid Haig, and Sybil Danning, to name a few.
Zombie also makes the wise choice of including the iconic Halloween score, sped up and layered with a few more electronics by Tyler Bates. He adds a few new little synthesizer warbles here and there while paying tribute to the little electronic jolts that Carpenter threw into his film. Zombie applies (unsurprisingly) a grainy and aged look to the film with costumes and sets that are reminiscent of the late 70’s and early 80’s with a gloss of modern caked on. Where the original Halloween sees little to no gore at all throughout its runtime, Zombie brings buckets full of blood and guts to his hillbillies-from-Hell party. I will warn you that the film is exceptionally brutal and grotesque so be prepared and plan accordingly. While I do feel Zombie’s exhausting explanations do take away from some of the horror, I still have to give him credit for staying true to the original film’s story while also daring to add on a fairly engaging prequel. Is the film perfect? Oh no, it certainly isn’t. If someone asked me if I wanted to watch Zombie’s film or Carpenter’s, I’d go with Carpenter’s classic in a heartbeat. Overall, Halloween 2007 could have been much worse but it actually turns out to be a pretty entertaining slasher film with a filthy, razor-sharp edge. I’ll take this ugly beast any day over most other tired and hollow remakes.
Halloween 2007 is available on Blu-ray and DVD.
Dawn of the Dead (1978)
by Steve Habrat
No film has scared me like Dawn of the Dead did when I first laid my unsuspecting eyes on it. I had seen some brutal films before, but I had never experienced the onslaught of carnage that tore at me with unstoppable force. I was electrified by the film, vaguely aware that there was much more going on behind the stationary scenes of gut munching. The film is, yes, a full-fledged assault on the view. This is why it scares us. Director George Romero just does not let up, backing us against the wall and indirectly beating us into submission. I believe that Dawn of the Dead and I were bound to be together. The strange ways I kept stumbling upon the film in my youth and the ways in which I would end up seeing it. Sometimes it seemed to defy coincidence. I first heard about Dawn of the Dead when I was around eleven years old. My dad purchased me a horror magazine that contained a list of the 50 Scariest Movies Ever Made. I had to have it. I was drawn to monsters and horror films after having seen Dracula, Frankenstein, and Night of the Living Dead at the tender age of about five years old. One evening, my brother-in-law at the time was flipping through the horror magazine and everyone seated at the dinner table was yakking about horror films. As he flipped through the pages and the debate about what was the scariest film of all time raged on—everyone had their own opinion, my sister and mother both argued it was The Exorcist, as my mother said she would leave the room when the TV spot would play on the tube—he suddenly halted on Dawn of the Dead. He turned the magazine around to face the dinner table and asked if anyone there had seen it. Everyone shook their heads and said no. He then began to describe the film to everyone, saying the film actually showed its characters having their stomachs ripped open and the innards devoured. I was mesmerized.
A few weeks later, on Halloween night, I spent the night at my sister’s apartment. My brother-in-law suggested that we order pizza, grab some caffeine heavy soda, hit the video store, and rent some classic horror movies. A triple feature (now you have a clue where my undying love for double and triple features of gritty, scratchy classic horror films on Halloween comes from)! He told me to pick one out and I ended up with Salem’s Lot in my hot little hands. I had seen a picture of the main vampire in the film and was cast under the spell of his glowing yellow eyes. I thought he was really spooky. My sister grabbed Se7en, another movie I had never seen and was mostly unfamiliar with. My brother-in-law suddenly exclaimed, “OH AWESOME! Dawn of the Dead! This is the movie I told you about!” I was apprehensive. I didn’t know if I was ready to see people getting ripped limb from limb. All while eating pizza, might I add. He insisted that I had to see it, as it was the sequel to Night of the Living Dead and it was a must-see.
We saved Dawn of the Dead for the last movie we watched that night. It began with Se7en, bridged with Salem’s Lot, and ended with me pinned to the big comfy chair that I sat in while I watched a man’s head explode, bikers have their stomachs torn open as easily as someone rips a piece of paper in two, a zombie get the top of his head chopped of by helicopter blades, and multiple gunshots to ghouls heads that leaked rotting brains. All in shocking color. I liked Se7en and Salem’s Lot, but Dawn of the Dead made it hard for me to sleep that night. Only two other films have affected me the way that film did and I have made it my quest to seek out other gore heavy horror films in a personal quest to see if I still hold on to some sort of sensitivity to extreme gore within a film. To this day, the closest I have come to being repulsed is while watching Cannibal Holocaust, a film that upon it’s purchase, the cashier asked me if I was sure I wanted to purchase it. I replied yes, that I collect gore heavy exploitation films and I make it a point to see as many in my lifetime as possible. She said okay and bagged the purchase. It didn’t compare to seeing Romero’s masterpiece the first time. I am beginning to think that nothing ever will compare to the life altering moment. Seeing Dawn of the Dead also made me realize that I truly loved movies and I never wanted to be without them.
Two years went by between my viewings of Dawn of the Dead. I never forgot the movie and I always thought back to it. The horror of being surrounded by an endless sea of zombies desperately wanting to eat your brains was horrifying to me. Even the tagline “When there is no more room in Hell, the dead will walk the earth” frightened the bejesus out of me. Then, by chance, after one of my friends loaned me a recorded version of Romeo & Juliet on VHS, I noticed that the label on the side stated that there was another film on that tape. Dawn of the Dead ’78. I made it another double feature the night I received that tape. I had originally wanted to see the contemporary update of the Bard’s tragedy, but I ended up wanting the film to hurry up and end so I could scare myself again with the blue tinted zombies desperately trying to find a way in to the Monroeville Mall. Dawn of the Dead and I had found each other yet again. It was a match made in horror movie heaven.
I watched Dawn of the Dead several times while I had that tape. I lost count at how many times I studied it, marveled at it, and pulled the covers a little higher over my head the night after watching it. The next time I found myself blessed with a copy of the film was when it was getting the special edition treatment on DVD. A four-disc set that contained the original cut, the director’s cut, and the European version, which was slimmed down to focus more on the action and gore than character development, was finally bestowing itself upon fans. I still to this day don’t care much for the European version of the film. I like the characters, Roger, Fran, Stephen, and Peter. Peter, next to Batman, is the ultimate bad ass in my eyes. Thank you, Ken Foree, you are a living God. One Saturday, my friends and I took a trip to the mall and we began exploring the FYE that was still thriving at that particular time. I always moseyed over to the horror section to make a mental note of which horror movies to see or which ones I had to add to my rapidly growing collection of fright flicks. On that day, I found the four-disc collectors edition of Dawn of the Dead. The set wasn’t supposed to be released until that coming Tuesday. I could barely control my excitement. I immediately snatched it up and dashed to the register. I emerged from the mall that day as one of the happiest human beings on the planet. I finally had my own, glorious copy of my favorite film. I probably resembled one of the consumer-obsessed zombies of the film that wonderful Saturday, but I didn’t care. I spent that night watching the documentaries, watching Romero lovingly recall making the film, and flipping through the comic book that came with the elaborate set. I still to this day will not lend the set out to anyone for fear it will get broken, stolen, or dinged up. My version is still as perfect as it was the day I brought it home before anyone else had it in his or her careless possession. We were together forever. And Dawn of the Dead could scare me all it wanted to.
I’ve chosen to avoid breaking apart the actual film for this review simply because, like Night of the Living Dead, it has been analyzed over by countless other film historians and critics. Heck, if anyone was to doubt that I don’t fully understand this film inside and out, just contact my old roommate who watched the film with me one evening over a couple of beers. He experienced as I enlightened to the tiny details one may not pick up on while seeing it for the first time. The film is sensory overload. There are still moments that creep me out big time while I watch in a daze. Stephen aka Flyboy (Played by David Emge) being stalked by a zombie through the boiler room of the mall ranks as one of the most traumatic. Or how about Frannie’s (Played by Gaylen Ross) encounter with a Hare Krishna zombie hell-bent on sucking the meat from her bones? She doesn’t even have a gun to blow the ghoul to smithereens. Or how about the blacked out final siege, which finds countless characters getting chewed to bits. It’s tense, peculiarly claustrophobic, and inexorably unpredictable. Romero only lightens up once through the whole thing, when he literally hits his zombies in the face with pies. Don’t get too chummy, his brief sense of humor quickly turns back into a stone-faced glare and the horror explodes at the viewer.
The film is multi-layered and extremely influential. It seemed appropriate to me that it would be remade in 2004, as we are now, more than ever, obsessed with consumerism. Romero was ahead of the curve and it seems like many don’t want to give him the credit he deserves. The master has also described this film’s approach as more of a comic book than it’s predecessor. While it is heavier on the action, it still manages to scare the shit out of you once or twice. I understand that today it is unintentionally funny, as many will get a few belly laughs over the blue zombies and obvious make-up lines. But if we take the film on it’s own terms, as a serious, pensive, and pulverizing, we can find much to shake our very core. Entertainment Weekly called this film “Devastating”, and I have to agree. With it’s bleak ending (not as bleak as Night) and carnage it leaves the viewer steeped in, you will walk away from this in pieces. Romero chews you up, spits you out, and puts you through the wringer. Just like one of his zombies would do to you if they had their way. It’s also what any good horror film should do to its viewer. Dawn of the Dead is an undisputable masterpiece that is a must-see for anyone who loves zombie films, and more importantly, worships at the altar of horror. Grade: A+