by Steve Habrat
In 2004, director Edgar Wright, Simon Pegg, and Nick Frost wowed genre audiences everywhere with their fantastic rom-zom-com debut Shaun of the Dead. In 2005, Wright and Pegg had brief cameos in George A. Romero’s 2005 comeback Land of the Dead and in the spring of 2007, Wright, Pegg, and Frost contributed the wonderfully spot-on fake trailer Don’t to Quentin Tarantino and Robert Rodriguez’s Grindhouse, the severely underrated double-feature ode to sleaze pictures of the 70s and 80s. Their hot streak continued just a few short weeks later with the release of the cop-slasher hybrid Hot Fuzz, a zippy, bloody, gory, and flat-out hilarious adrenaline rush that found the guys returning to the big screen in a colossal way. Riffing on Point Break, Bad Boys II, and almost every other action movie that Michael Bay has ever made, Wright and his double-trouble duo then drive this flashing police car straight into the whodunit slasher genre with guns blazing. Brimming with winks and nods to everything they love, Wright once again smartly tells a highly original story that turns Hot Fuzz into a modern day action masterpiece. It also has the world’s funniest swan and a gunfight to end all gunfights, so that is also a plus too.
Nicholas Angel (played by Simon Pegg) is the best police office in London. He is so good at his job that he is starting to make the other officers on the police force look bad. One day, Nicholas is called into a meeting with Chief Inspector Kenneth (played by Bill Nighy), who explains that Nicholas is going to be transferred to the rural town of Sanford, a picturesque community that is devoid of crime. Upon his arrival, Nicholas meets Inspector Frank Butterman (played by Jim Broadbent) and his simple-minded son Danny Butterman (played by Nick Forst). Frank partners up the overachieving Nicholas up with the lackadaisical Danny and sends the duo out to patrol the quiet streets. Everything seems to be going okay until a series of brutal accidents sends a shockwave through the town residents. Convinced that there is more to these accidents than meets the eye, Nicholas and Danny launch an investigation that brings them face to face with a hooded killer. With prominent members of the community dropping like flies, Nicholas and Danny race to put an end to the hooded figure’s killing spree, but the closer they get to catching the murderer, the more secrets that are revealed about the seemingly peaceful town of Sanford.
Bigger and badder than Shaun of the Dead, Hot Fuzz has studied the action manual very hard and it knows what we have come to expect. The aesthetic is sleek and shiny, with even the smallest moments spiffed up to make our eyes pop. Early on, Nicholas arrests a handful of underage teens sipping suds in Sanford’s pub and as Nicholas books them at the station, Wright cuts quickly, pulling off several flashy camera tricks and even speeding up or slowing down the action for maximum effect. It’s absolutely hilarious and a very clever nod to Michael Bay and his insistence on stylizing every little detail. When the action goes boom, we get the typical slow motion shot of the heroes walking away from the fiery destruction in the background. The climax finds Wright including everything from police chases to gritty gun battles, all the way to a final mano-y-mano that ends in a sight gag that is simultaneously horrific and hilarious. Once again, Wright manages to carefully balance out the action side of the story with the whodunit/slasher aspect. The murder mystery is fun and it does make for a few good jump moments that will keep you on your toes. In a way, you are left crossing your fingers that the guys might reunite down the line for a straight up slasher movie. I have a feeling that it might be another home run from Wright.
As if the flashy action and the slasher plotline weren’t enough for one motion picture, Wright pumps in a heartwarming buddy-cop subplot. A good majority of the fun comes from watching Pegg and Frost interact with each other, mostly because they are such polar opposites. In Shaun of the Dead, they were on the same dazed wavelength but in Hot Fuzz, they are like oil in water. Pegg excels at the supercop role, never missing a moment to turn his by-the-books Nicholas into a Buzz Killington. He drags the buzzed youth down to the station even though the local-yokels argue that allowing the boys to have a few brews in a local pub keeps them from causing trouble in the streets. When he reluctantly agrees to hang out with Danny outside of work, he refuses a beer and orders a simple cranberry juice. He bottles up his anger when he is sent to round up a runaway swan, one of the film’s funniest running jokes and he sighs through boredom as Danny invites him to his house to watch Bad Boys II and Point Break. On the other hand, Frost’s Danny is sweet and simple, a guy who really could care less about his day job and would much rather be at home getting lost in a fantasy world of exploding cars, gunfire, and mayhem. You practically cheer for him when he gets the chance to pick up some firepower and join Nicholas on the streets for a good old-fashion shootout and you’ll be doubled over laughing when he gets to act out his favorite scene from Point Break.
As far the supporting players go, Broadbent is a riot as the merry Sanford Police Inspector who pairs up Nicholas and Danny. Bill Nighy is perfectly dry as the Chief Inspector who ships Nicholas off to dead end and Timothy Dalton gives a suave performance as Simon Skinner, a supermarket manager who seems awfully suspicious. Interestingly enough, Cate Blanchett turns up as Janine, Nicholas’s girlfriend in a HAZMAT suit and director Peter Jackson stops by for an appearance as the Santa Claus that attacks Nicholas in the opening credits. If there were anything to nitpick in Hot Fuzz, it would probably have to be the length of the film. With so much happening within the plot, the film does run a bit too long and the climax starts to feel a bit like overkill even if Wright is desperately trying to cram in as many action movie staples as he can. Overall, it is clear that Wright, Pegg, Frost, and nearly every other actor or actress in Hot Fuzz is having a ball and their good time does rub off on the viewer. Wright and Pegg’s screenplay never misses a beat and the laughs blast at the viewer like bullets. You may never be able to look at a swan the same way again.
Hot Fuzz is available on Blu-ray and DVD.
by Steve Habrat
Before the summer of 2003, the zombie genre had largely remained dead and buried. There was a sluggish 1990 remake of Night of the Living Dead here and the final Italian effort Dellamorte Dellamore there, but the zombies seemed content to rest six feet under. In 2002, we caught a glimpse of the undead in the futuristic action-thriller Resident Evil, a film that was unexpectedly fun despite the fact that it was based around a video game and directed by Paul W.S. Anderson. In 2003, zombies—or should I say INFECTED people—came back in a big way. Danny Boyle’s grim indie 28 Days Later re-ignited interest in the apocalyptic subgenre and the craze grew ever stronger with the spring 2004 release of the Dawn of the Dead remake. With the zombie craze re-established, the fall of 2004 saw the release of British director Edgar Wright’s Shaun of the Dead, a written-in-blood loveletter to George A. Romero’s Dead trilogy, some of the early Italian releases like Lucio Fulci’s Zombie, and, yes, Boyle’s gritty reimagining of the genre. Down-to-earth, warm, hilarious, and tense in all the right places, Shaun of the Dead is without question one of the strongest modern zombie movies and it ranks up there as one of the best undead films ever made. Oh, and it also happens to be a romantic comedy, which means your girlfriend might like it too.
Shaun of the Dead introduces us to Shaun (played by Simon Pegg), whose life seems to be stuck in a rut. He works a dead end job as an electronics salesman at Foree Electric, he loathes his stepfather, Phillip (played by Bill Nighy), he constantly quarrels with his roommate, Pete (played by Peter Serafinowicz), over their lazy best friend Ed, who shacks up on their couch and refuses to get a job, and he wants to spend every night sipping pints in a local pub called the Winchester. To make things worse, Shaun is loosing his girlfriend, Liz (played by Kate Ashfield), who wishes that Shaun would do more with his life. After Shaun forgets to book a table at a fancy restaurant for their anniversary, Liz decides to call it quits with Shaun because he just can’t seem to grow up and take on responsibility. Devastated, Shaun and Ed retreat to the Winchester to drown their sorrows in a couple pints and shots, but the next day, the two awake to discover that mankind has been wiped out and the cannibalistic undead roam the streets. Hungover and terrified, Shaun and Ed begin devising a plot to round up Liz, her roommates, David (played by Dylan Moran) and Dianne (played by Lucy Davis), and Shaun’s mother, Barbara (played by Penelope Wilton), in an attempt to show Liz that he is a responsible adult. The plan is to hold up in the Winchester until the whole thing blows over, but as they begin their trek to the pub, they realize that the situation outside is a lot more dangerous than they had anticipated.
The early scenes of Shaun of the Dead are absolutely hilarious and brimming with social commentary. The opening credits find ordinary citizens shuffling through their daily lives with a blank stare frozen on their faces, rooted in monotonous routines. Even Shaun is stuck in a mundane ritual as he shuffles out of bed like a zombie, throws on his work clothes, and sulks obliviously down to the local market where he picks up sodas and ice cream to munch on while he plays video games with Ed. Funny enough, Ed is the one that reminds Shaun that he can’t jump into a game because he has to go to work. Shaun is so blind to his surroundings that when the zombie apocalypse does finally hit, he has absolutely no idea that it is happening until Ed calmly tells him that there’s a girl in their garden. From here on out, the film falls back on the blind leading the blind. Shaun and Ed are clueless over how to deal with the situation they find themselves in. They think that throwing records like Frisbees at the zombies that have stumbled into their back yard (the movie’s best and funniest sequence) is a good idea and they hilariously believe that they will be able to shack up in a pub and sip pints while the undead pound away outside. These early scenes show that Pegg and Wright, who penned the script, both fully understand that Romero’s Dead trilogy had a lot more on its mind that just blood and guts.
While there are plenty of smarts to be found in the depiction of daily life, which clearly Pegg and Wright detest, the film also gets by on some witty references to other zombie movies. Early on we get a nod to Lucio Fulci, Ken Foree, who was the star of Romero’s 1978 classic Dawn of the Dead, a sly nod to the 1984 cosmic zombie movie Night of the Comet, a hilarious spin on the “we’re coming to get you, Barbara” line from Night of the Living Dead, and charming use of Goblin’s score from Dawn of the Dead. There is also a blink-and-you-miss-it tribute to Boyle’s 28 Days Later near the end of the film. While Wright and Pegg are eager to pay tribute to the zombie movie greats, they create a unique offering to the genre. The film is also a hilarious slacker-stoner comedy and a touching romantic comedy that finds us rooting for the romance to rekindle between Liz and Shaun. By the end of the film, Wright has scrubbed away most of the laughs in favor for the typical gut munching and closed-off claustrophobia that made horror fans fall in love with the zombie genre in the first place. The final sequence has powerful emotional blows, a quick visual gag to break the tension, and then a final siege that finds our heroes realistically trying to work their way around a firearm. The scene is all the better because we truly want every single one of these characters to make it out alive, but when the zombies start trying to claw their way in, our stomach twists into knots and we know that won’t happen.
The characters of Shaun of the Dead are all brilliantly written and beautifully played by a handful of very talented British actors. Pegg is a revelation as Shaun, who still gets a belly laugh out of a good fart joke. He shares several touching moments with the stoner Ed, who seems to have grown roots to the couch and super glued an XBOX controller to his fingertips. Ashfield is sweet and tightly wound as Liz, who thinks that there is a lot more out there for her than simply wasting away at the Winchester. Moran is a geeky puke as David, who pines for Liz even though she sees him as just a friend, and Davis tries to be mediator as Dianne. Nighy is stern discipline as Phillip, Shaun’s no-nonsense stepfather who is given one of the most dramatic scenes of the movie. Serafinowicz is wildly unlikable as Pete, Shaun’s fed-up flat mate and Wilton is naïve as Shaun’s lovable mother Barbara. Amazingly, Wright gets us to like even the most detestable characters and he almost drives us to tears when the cannibals seeking human flesh bite a few of them. Overall, Shaun of the Dead dares to take on quite a bit and it could have been crushed under the heavy load it attempts to lift. It is bound and determined to take on several different genres at once and it does it with shocking ease. It is an inventive, poignant, hilarious, and creepy zombie movie that has even earned praise from the zombie godfather himself, George A. Romero. You’ll want to watch this movie again and again.
Shaun of the Dead is available on Blu-ray and DVD.
by Steve Habrat
In 2004, America had the pleasure of being introduced to Simon Pegg, Nick Frost, and director Edgar Wright, a trio of British funny guys who bowed at the cinematic alter of all things horror, action, science fiction, and exploitation. They burst into Hollywood with Shaun of the Dead, a warm and fuzzy romantic comedy…. with zombies. Shaun of the Dead was a surprise hit, even earning praise from the zombie godfather himself, George A. Romero. In the summer of 2007, Pegg, Frost, and Wright returned to theaters with Hot Fuzz, a razor-sharp marriage of the slasher genre and the buddy cop action genre that threatened to be even better than Shaun of the Dead. It was around this time that you started hearing that these films were part of a trilogy that Wright was calling his Cornetto trilogy. After another lengthy wait, the trio have finally brought their Cornetto trilogy to a close with The World’s End, a smashing nod to classic science fiction films from the 1950s all the way to the 1980s. Wright and his starring duo have already proven themselves as experts at mashing up multiple genres of film and The World’s End finds them once again at the top of their game. This midlife crisis comedy flows with laughs, blue blood, brilliant characters, superbly choreographed fistfights, heartfelt drama, and enough beer to have the most seasoned beer drinkers screaming uncle and running for the bathroom.
The World’s End introduces us to Gary King (played by Simon Pegg), a forty-year-old wash up that is stuck living in the past. In his youth, Gary and his four closest friends participated in a pub-crawl called the Golden Mile, which consisted of twelve pubs scattered throughout their hometown of Newton Haven. The boys were unable to finish the crawl, but Gary remembers it fondly as the greatest night of his life. After growing frustrated with rehab, Gary tracks down his four best friends—Andy (played by Nick Frost), Peter (played by Eddie Marsan), Oliver (played by Martin Freeman), and Steven (played by Paddy Considine)—in the hopes of convincing them to reattempt the Golden Mile and this time making it to The World’s End, the final bar in the crawl. Despite having moved on with their lives, the gang decides to join Gary in the pub-crawl. It doesn’t take long for the gang to start bumping into familiar faces from their youth, but it seems that their old friends don’t recognize them at all. After a bathroom scuffle with a group of freakishly strong and blank-faced teenagers, the group discovers that the citizens of Newton Haven have all been turned into robots. Confused, buzzed, and terrified, the group decides to continue on with their crawl in an attempt to blend in, but it doesn’t take long for the group to blow their cover. Teaming with Oliver’s beautiful sister, Sam (played by Rosamund Pike), and a handful of normal locals, the group begins a fight to remain human… and make it to The World’s End.
For those who aren’t cinema buffs or seasoned vets of the Cornetto trilogy, the main focus of these three films has been to pick a genre of film (horror, action, science fiction) that Wright, Pegg, and Frost adore and pay tribute to the classic films within that genre, all while tucking a heartfelt and relatable storyline inside the nods. After giving the viewer a chunk of time to get to know the characters, The World’s End sets its sights on the classic science fiction films from the Cold War/drive-in era all the way to the films like John Carpenter’s The Thing. When the robot-aliens finally make their presence known, the narrative of The World’s End begins to heavily borrow from Don Siegel’s 1956 sci-fi classic Invasion of the Body Snatchers. Wright then sprinkles in hints of the 1978 remake, but these lean more towards the visual end. Genre fans should also be on the lookout for nods to The Day the Earth Stood Still and a scene-stealing ode to John Carpenter’s The Thing. Wright smartly understands that these classic films were heavy with politics and social commentary, and he converts these nods into a hilarious comment on modern day conformity. The best use of this commentary comes when the guys start the crawl and realize that the colorful bars that they use to frequent as boys have been scrubbed of their small-town individuality and converted into Starbuck-esque establishments. It’s a running gag that never gets old.
The theme of conformity continues in the characters, especially Andy, Oliver, Peter, and Steven. These guys have tried desperately to distance themselves from their hard-partying days and embraced a happy family, a cozy desk job with a mound of benefits, expensive suits, and a fancy home in the suburbs. We sense their boredom early on and we roll our eyes when they tell the free-spirited Gary to grow up and get serious with his life. Pegg easily gives the strongest performance of his career as Gary, the ultimate party animal who just can’t say “no” to a cold pint and a bag of weed. I really don’t think I have seen Pegg throw himself into a role with this much enthusiasm before and I thought he was a ball of energy in the Star Trek films! Frost breaks away from playing the slouching slacker that he played in both Shaun of the Dead and Hot Fuzz and takes the uptight route as Andy, who hasn’t had a drink in fifteen years and is flat out appalled by Gary’s loose-cannon behavior. Watching Andy and Gary try to rekindle their relationship is awkward, hilarious, and moving all at the same time. Marsan is another scene-stealer as the geeky Peter, who appears to be petrified of his own family and bottling up pain from being bullied. When he starts downing the brews and the shots, he is an absolute riot. Freeman’s Oliver is your usual businessman with a Bluetooth shoved in his ear and Considine is a fitness nut dating a younger girl. Pike is sweet and scrappy as Oliver’s sister, Sam, who is pursued by both Steven and Gary. Pierce Brosnan also makes a special appearance as Guy Sheppard, an old guidance counselor from the gang’s high school.
Where The World’s End hits a snag is in the final confrontation between the gang and the alien invaders that are hiding out in Newton Haven. Just before the two parties meet, there is a surprisingly emotional heart-to-heart between Gary and Andy that will have a good majority of viewers getting a bit misty-eyed. The dramatic moment is pierced by a drawn-out war of words with the alien force. Wright is slyly paying tribute to some of the lower-key climaxes of the sci-fi films from the 50s, where the all-American hero came face-to-face with the alien invaders and engaged in a heated discussion about the alien’s intentions. While it is smart on Wright’s end, it does throw the film’s momentum way off and it feels like we’ve hit a brick wall for a good ten minutes. Thankfully, Wright recovers with some seriously epic destruction that will get the heart pounding again. Overall, The World’s End may not be my personal favorite film of the Cornetto trilogy, but I still found myself getting wrapped up in the emotional sweep at the climax, laughing at the quick wit, hanging on the action sequences, and beaming over the love letter homages. This is one cocktail that may suffer from a bit of backwash near the end, but will still leave you with one hell of a buzz that is guaranteed to last for days.
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 Steve Habrat
It has been four long years since JJ Abrams ventured into the Star Trek universe and left both die hard Trekkies and casual moviegoers hungry for more deep space adventures from the brash Captain James T. Kirk and the brilliant Mr. Spock. For some, that lengthy wait felt almost like a lifetime. In between 2009s Star Trek and Star Trek Into Darkness, Abrams buddied up with director Steven Spielberg on the set of their 2011 alien-in-suburbia throwback Super 8, and it seems that this friendship has really inspired Abrams and his approach to science-fiction blockbusters. Almost every single frame of rollicking action in Star Trek Into Darkness is alive and bursting with Spielberg’s spirit for adventure, something that will absolutely delight anyone who is a fan of Spielberg’s breezy approach to summer diversions. Yet you don’t necessarily have to be big on Spielberg to adore the second installment in this rebooted franchise. We may only be three weeks into the summer movie season, but after taking this bad boy in, I think we may have an early contender for best blockbuster of the year. Featuring two times the action, two times the thrills, two times the emotion, two times the fun, and two times the laughs, Star Trek Into Darkness finds Abrams burning with sugary creativity and bubbly enthusiasm to deepen the relationships between his wonderfully reinvented characters.
Star Trek Into Darkness begins on the primitive planet of Nibiru, with the crew of the USS Enterprise on an undercover mission to monitor a volcano that is on the verge of erupting and wiping out the planet’s natives. The crew has been warned that they are not to reveal their presence natives, but after a dangerous attempt to stop the volcano from erupting, Captain James T. Kirk (played by Chris Pine) breaks orders to save Spock’s (played by Zachary Quinto) life. Back on earth, Kirk and Spock are reprimanded by Admiral Pike (played by Bruce Greenwood), who reassumes command of the Enterprise, relieves Kirk of his command, and reassigns Spock. Meanwhile, in London, a Starfleet archives is attacked and destroyed by a shadowy Starfleet agent named John Harrison (played by Benedict Cumberbatch). Kirk and Spock are called in to attend an emergency meeting at Starfleet headquarters to discuss how to respond to the attack. The meeting is interrupted by another attack that kills several high-ranking members of Starfleet including Admiral Pike. With Pike dead, the USS Enterprise is given back to Kirk and Spock, who quickly hatch a plan to go after Harrison, who has fled to the hostile Klingon planet Qo’noS.
Much like Abrams’ first Star Trek film, the second installment is loaded with nifty little plot twists that should not be spoiled by a review. Just know that if you are a major Star Trek fan, there a more than a few surprises that will almost make your head explode. With all of the characters fleshed out in the first film, Abrams can strictly focus on the nonstop action that practically blasts the audience into the neighboring theater. The film begins with an Indiana Jones-style chase between the terrified Kirk and “Bones” McCoy (played by Karl Urban) and a yelping tribe from Nibiru, who launch spears out of the screen in glorious 3D. In case there wasn’t enough to marvel at in this particular set piece, Abrams flips to the glowing action that is taking place within the swirling volcano. From there on out, there is a city-shaking attack on Starfleet, a wicked shootout between Klingons and a handful of crewmembers of the Enterprise, a nerve-frying space jump through a spinning field of spaceship debris, and a breathtaking fistfight on the streets of San Francisco. If that isn’t enough to hold your attention, you’ll certain find yourself unable to stop scanning the inside of the seriously amazing USS Enterprise or grinning over the wild crew members that operate it. Surprisingly, the film was converted into 3D in postproduction, but it is totally worth spending the extra cash to check it out in immersive 3D.
While the action will certainly have you drooling, Star Trek Into Darkness really comes to life through Pine and Qunito. It really is a treat to see these guys hilariously bickering it out every step of the way. They argue in a disciplinary meeting, during the opening chase, and even while they are trying to infiltrate Qo’noS. Pine continues to be reckless and cocky all while he flirts with one girl after another. The early scenes between Pine and Greenwood’s fatherly Admiral Pike were especially touching and shattering when Pike meets a nasty laser blast. Quinto continues to bring the laughs as the rigid and emotionless Spock, a stickler for the rules if there ever was one. Here, Spock’s emotional detachment is put to the test and it truly does strike a chord. Yet the real magic happens when Pine and Quinto are together, with their egos clashing and banging around the iPod walls of the Enterprise. Their friendship is really put to the test when the confront Cumberbatch’s Harrison. While it is best not to reveal much about John Harrison, just know that Cumberbatch nearly steals the entire movie away from Pine and Quinto. He is one hell of a commanding villain.
If you were worried that the rest of the Enterprise crew had flew the coop, never fear, as they are all back where they belong. The sexy Zoe Saldana is back as Nyota Uhara, who has developed a relationship with Spock that goes far beyond the Enterprise. Karl Urban continues to bring the pessimism as Dr. Leonard “Bones” McCoy, who is constantly getting under Kirk’s skin with some of the worst metaphors you can think of. Simon Pegg continues to delight as the hilarious engineer Montgomery “Scotty” Scott, who hams it up through an exaggerated Scottish accent. John Cho brings a quiet intensity to the role of Lieutenant Hikaru Sulu and Anton Yelchin is cartoonishly frantic as Ensign Pavel Chekov. We don’t get nearly as much of them as we did in the first film, which is a bit disappointing but understandable considering everything that is going on within the story. And we can’t forget the outstanding newcomers Peter Weller and Alice Eve, who are here as the ruthless Starfleet Admiral Alexander Marcus and the beautiful weapons expert Dr. Carol Marcus.
As far as summer movies are concerned, Star Trek Into Darkness is about as strong as they come. While there is an abundance of action and explosions to keep those with a severe case of ADHD hooked, there is still plenty of humanity to this story. We genuinely care about these characters and after a while they almost start feeling like close friends. They are especially irresistible when Abrams shakes the Enterprise and lets all these drastically different walks of life mix. Overall, Star Trek Into Darkness is a massive step up for the sleek and sexy franchise and at just over two hours, Abrams still leaves you wanting more of absolutely everything. Just like the first outing, it simultaneously pleases Trekkies and those just looking to be dazzled on a Friday night. You know what? Just stop reading this review right now and go see it. Just don’t be surprised if you want to see it again the second its all over.
by Steve Habrat
Before JJ Abrams’ sleek 2009 reboot, the Star Trek franchise was basically old hat and met with eye rolls or bored sighs from anyone who wasn’t a fanatic. Every so often, a new Trek movie would trickle quietly into theaters and it would basically only appeal to your Trekkie uncle or that weird kid up the street, but everyone else ignored it. It was a very closed-off franchise that seemed to be fading away as the years passed. Then something remarkable happened. In May of 2009, Lost creator JJ Abrams sparked the franchise back to life and introduced the crew of the USS Enterprise to a whole new generation of action-hungry moviegoers. Believe me when I say that you don’t have to be a Trekkie to absolutely adore Abrams’ Star Trek, a splashy, sexy, and clever re-envisioning of the classic television show. Right from the get-go, Abrams makes it clear that this is not your father’s Star Trek, and he catapults the viewer into a world of candy-colored action, shiny spaceships that look like they were designed by Steve Jobs, devilish humor, and fresh-faced youngsters looking to make a name for themselves in Hollywood. It would be just what the doctored ordered for a franchise on life support and it would go on to be one of the strongest films of the 2009 summer movie season.
Star Trek begins in 2233, with Federation starship USS Kelvin investigating a mysterious lightning storm in space. Out of the lightning storm emerges the Romulan ship Narada, which proceeds to attack the USS Kelvin. The Narada’s captain, Nero (played by Eric Bana), demands that the USS Kelvin captain board the Narada so that he can be questioned about the current stardate and about a man named Ambassador Spock. After Nero kills the captain for not answering his questions, he then orders his crew to destroy the USS Kelvin, which is now captained by first officer George Kirk (played by Chris Hemsworth). George orders that the ship’s crew, which includes his pregnant wife, Winona (played by Jennifer Morrison), quickly evacuate the ship before it is destroyed. During the evacuation, George’s wife gives birth to a boy they name James. Many years later, we are introduced to the brilliant young Vulcan Spock (played by Zachary Quinto) and reckless James T. Kirk (played by Chris Pine) as they both enlist in the Starfleet Academy and form a nasty rivalry. Kirk and Spock are forced to put their rivalry on hold and join forced after Spock’s home planet is attacked and destroyed by the mysterious Narada. As the young crew of the USS Enterprise races to understand this deadly enemy, they are forced to put their egos aside once they realize the Narada’s next target is Earth.
Abrams’ Star Trek is absolutely loaded with enough backstory to fuel half a dozen origin stories. There is plenty of character development, especially in Kirk and Spock, but there is also tons of talk of time travel, red matter, supernovas, and more. While the storyline is certainly absorbing and full of surprises which won’t be revealed here, what will truly hold you are the introductions to characters you have certainly heard about from your dad or through pop culture chatter. We are treated to smile-inducing introductions of the cynical doctor Leonard McCoy (played by Karl Urban), spiky Nyota Uhura (played by Zoe Saldana), fast-talking Scottish engineer Montgomery “Scotty” Scott (played by Simon Pegg), senior helmsman Hikaru Sulu (played by John Cho), and Russian navigator Pavel Chekov (played by Anton Yelchin). Each one of these characters is given more than enough time to shine, especially Pegg’s motor mouthed Scotty, who nabs most of the film’s laughs. My personal favorite moment is Kirk’s first encounter with McCoy, who pokes Kirk with a number of syringes that contain various illnesses so that he can sneak him aboard the USS Enterprise. It’s a moment of absolutely brilliance.
Then we have Pine’s daredevil Kirk and Quinto’s relentlessly serious Spock, both who play a game of tug of war with the film. Pine excels as the slacker Kirk, who refuses to see his full potential. He stumbles around drunk in futuristic bars and nightclubs, chasing around the repulsed Uhura and getting into fistfights with a number of Starfleet students. He’s absolutely irresistible as he sneers through bloody lips and taunts through black eyes, but his performance really takes hold when he finally looks inside himself and realizes his true potential. Quinto is the polar opposite as Spock, a brainy but cold Vulcan who is constantly conflicted over the fact that he is half-human. When you aren’t marveling at Kirk’s transformation, you’ll be glued to Spock’s realization that he needs to simply relax and trust those around him. And we can’t forget the superb villain Nero, brilliantly tackled by a surprisingly intense Eric Bana. Nero may not be a household villain, but he certainly makes you remember him as he spits threats at the USS Enterprise and demands that his crew “FIRE EVERYTHING!” With so much happening in the story, Bana’s screen time is limited, but he certainly hits a home run when he can.
Considering that Star Trek is a summer movie, Abrams constructs numerous action sequences that will have you gasping. The USS Kelvin’s encounter with Nero is appropriately tense and the evacuation is big, busy, shaky, and emotional even though the movie has only been going for maybe ten minutes. A nail-biting space jump onto a massive drill is fierce, only to be followed up by a white-knuckle fistfight that will have you on the edge of your seat. Just when you don’t think it can’t get any cooler, Sulu whips out a sword and Abrams blows an entire planet to smithereens. And how can I forget Kirk’s marooning on snowy Delta Vega, where he flees the jaws of some seriously nasty creatures hungry for some human flesh and comes face to face with a man that even non-Trekkies will be able to identify? For all the adrenaline rushes that pepper the bulk of the film, the climax is both expectedly epic and surprisingly intimate. Don’t worry, folks, there is no shortage of shootouts, narrow rescues, and bone-crunching fistfights that will have you cheering right along.
What has really turned Abrams’ lens-flared vision of Star Trek into such a winner is the fact that he has found a way to evenly balance fan expectations with an accessibility that was lacking in previous Star Trek efforts. You really don’t have to be a fan to appreciate or enjoy the film. The shiny visuals will have teens ignoring their smartphones while the storyline will have the Trekk fans chatting for hours upon hours. It truly is a balanced and fizzy concoction from a director who understands how to reach a wide audience. Overall, Abrams manages to rescue the Star Trek franchise from the black hole that it was threatening to consume it, punch up the action and adventure, give fresh life to aging characters, polish the outside of the rusty USS Enterprise, and then leave the viewer wanting a whole lot more. There is no doubt in my mind that moviegoers will follow Abram and this new crew where no man has gone before.
Star Trek is available on Blu-ray and DVD.
by Charles Beall
2011 was the year of vintage Spielberg. Along with J.J. Abrams’ “Super 8,” we were treated to the first animated feature film by this legendary filmmaker; these two films, for me at least, reminded me why I fell in love with the films of Steven Spielberg in the first place.
So we have “The Adventures of Tintin,” and boy is this a great film. I will admit that when I first saw the trailer for this movie, I aired on the side of caution. I had been familiar with the name Tintin, but had no idea as what to expect, and in a way, Spielberg knew this. Both he and Peter Jackson had a great challenge ahead of them, adapting a uniquely European comic for a worldwide audience. As someone who has no idea about the source material, and who thoroughly enjoyed the film, I can say their gamble was a success.
To delve into the plot of “Tintin” would be a disservice to the reader. But I will tell you this: this movie is a grand adventure in the style of the movies we grew up with. There is an underlying mystery, a legend, and it is up to Tintin and his sidekick Snowy to solve it. And I’ll tell you this, I was on the edge of my seat the whole time, consumed in a child-like giddiness that I rarely experience while watching a film.
Spielberg, like Scorsese with “Hugo” (a magnificent masterpiece), uses 3D technology to add, well, another dimension to the story; it is a tool, not a gimmick. We are literally immersed in Spielberg’s world of Tintin and we see shots that no live action film could accomplish. There are chase scenes that come out of the imagination of an eight year-old, and it is obvious that the filmmaker is having a blast. The detail in every scene is impeccable, from the distorted reflection in a bottle to the consistency of the pores on a face. The love of film and serials past is evident; there is an homage to “Jaws” that made me want to go up to the screen and give it a big ol’ kiss.
But, most important, what we have in “The Adventures of Tintin” is a filmmaker who is constantly challenging himself and whom is willing to revisit the films of his childhood, and ultimately, the films that made him the artist he is today. Tintin will be, hopefully, a character that kids will embrace on this side of the pond. He is a smart character, who uses his intellect and imagination, not an iPhone and Google to solve mysteries or to have an adventure. I for one cannot wait to have kids, mainly because I want to see them discover movies, and “The Adventures of Tintin” will definitely be in the “Spielberg section” that I will indoctrinate them with.
Mr. Spielberg, bravo. (And I love you, please give me a job.)
by Steve Habrat
When is the last time you saw an honest to goodness awesome action film that got your heart pounding and your palms sweating? Can’t truly recall one that actually did its job? For me, it was Inception, but director Brad Bird’s Mission Impossible: Ghost Protocol is the most recent to really get me chewing my nails down. Truth be told, most action films rely too heavily on CGI deception, layering giant battling robots duking it out in a familiar American metropolis, rubbery superheroes darting around skylines saving tumbling airplanes, cramming as much busy aerial action into a wide shot as humanly possible, or something to that overblown extent. Sure it’s thrilling to look at and we admire how pretty the picture looks, how real the effects are getting, etcetera, but we never actually sweat bullets over the conflict because we know our CGI superhero will save the day no matter what. They are larger than life, so our answer is eradicating the life and you have an unstoppable man made creation. Don’t get me wrong, I adore superhero films and I love to see what the computer wizards in Hollywood will digitally dream up next, but they are never as invigorating as Mission Impossible: Ghost Protocol. Most action films, sadly, are not.
Here’s the mission, if you choose to except: Acrobatic IMF agent Ethan Hunt (Played, for a fourth time, by Tom Cruise) and his brainy band of sidekick agents find themselves being blamed for an explosion at the Kremlin. In the explosion, a terrorist named Hendricks (Played by Michael Nyqvist) makes off with launch codes for nuclear missiles. The slippery Hendricks is hellbent on igniting nuclear war throughout the world. Russia blames the United States for the explosion and in response, the president issues “Ghost Protocol”, wiping out the IMF and leaving Hunt and his team to take the heat. Hunt turns to the newly appointed field agent Benji (Played by a superbly hilarious Simion Pegg), the curvy and vengeance seeking Jane (Played by Paula Patton), and the mysterious Brandt (Played by Jeremy Renner) to help him track down Hendricks, prevent a nuclear holocaust, and clear their names. Hunt also finds himself the target of a persistent Russian security force agent named Sidirov (Played by Vladimir Mashkov). To reject taking on this mission would be an absolute mistake.
Mission Impossible: Ghost Protocol does have its fair share of eye candy effects moments. A massive sandstorm bears down on Hunt as he scales the massive Burj Khalifa in Dubi with nothing but high tech gloves that produce an adhesive, allowing him to stick to the side of the building. Wait until one of the gloves begins shorting out. That’s only the start of what is sure to be a classic sequence. Cars go somersaulting at Ethan, a massive explosion levels part of the Kremlin, and more. What turns up the adrenaline in this film is the fact that Cruise, who is one of the biggest and most recognizable stars on the planet, puts himself right in the center of the action. He takes more than a few tumbles in this film and at times, Bird’s camera seems to catch accurate spot-on reactions. At one point, I even turned to my friend that accompanied me and said, “Man, did you see his face? THAT looked pretty real and THAT was a look of pain on his face!” Cruise is the heart and soul of this franchise and, more importantly, keeping this film from veering off onto throwaway blockbuster territory. And yes, the film projects an epic scope but the action is tight and controlled, never appearing showy.
Credit should certainly go to director Brad Bird, who makes his first live action feature film. We knew he could make some heartwarming family friendly films (He is the man responsible for The Iron Giant, The Incredibles, and Ratatouille), but the man works well with flesh and blood actors too. His cast has impeccable chemistry, gracefully playing off each other, delivering a whole slew of memorable one-liners, and actually working hand-in-hand in every situation they find themselves in. His camera floats along with Cruise as he inches along the Burj Khalifa, tossing his camera down the side of the building, giving us a sense of how high up Cruise actually is. He stages an intimate confession up close and personal and he lands jokes deviously, sometimes taking a second to for the laugh to squeak out of the viewers mouth. Wait until you see Benji and Hunt creeping around the Kremlin. There is a blink-and-you’ll-miss-it joke that is adroitly landed. Bird holds tense moments extra long, making we the viewers feel the pressure that Hunt and his team are under. Bird certainly has a future in action.
Everything in Mission Impossible: Ghost Protocol is top notch. Everything from the action, the chases, the acting, the CGI, the editing, the staging, the pacing, the feel, and the final showdown just connect and work together until the very last frame. The MVP here is without question Cruise, showing vast dedication to the project and risking life and limb for his art. The film packs the fireworks we all want from the Mission Impossible franchise but they never feel like they are there is a diversion from meager storytelling. The threat is truly there is this one is down to the wire. It’s a shame it wasn’t released during the summer movie season because it would have clobbered the competition, body slamming duds like Transformers: Dark of the Moon, Green Lantern, and Cowboys and Aliens. Once you’ve had action this real and fun, you’ll never want to go back to the kind simulated on a computer.