Frozen (2010)

Adam Green is something of an oddity in today’s genre climate. On one hand he’s a horror geek who produced the fun, yet shallow, Hatchet movies; on the other he’s given us top-quality character based horror like Spiral. As disposable horror go, the Hatchet movies are very much top quality entries, but they aren’t going to be remembered for originality or stand as a testament to his creativity skills. Green’s career took an interesting turn with Grace, which he produced. Grace is a highly original and equally disturbing horror film that proved that the man has an eye for a good script. Now comes Frozen, a small little movie about a group of friends stuck on a ski-lift… doesn’t send chills down the spine does it? But you’re in for a damn unpleasant surprise.

Three friends, Dan, Joe and Dan’s girlfriend Parker, are enjoying a day on the slopes. After cutting a deal with the ski lift operator for a reduced fare they further push their luck and demand one last run down the slopes as the park is closing. Reluctantly, the operator agrees and they go on their way. As they get further up the mountain, down below a serious of blunders result in the park getting shut down, while they’re stuck up in the mountain, 100 feet from the ground. Panic immediately sets in, but as time passes the horrifying realisation that they are stuck up there for five days kicks in and they have to figure out how to get back down to safety.

The simplest stories are often the most effective, and in the case of Frozen it certainly holds true. Three characters attached to a chair 100 foot above ground, hardly a complex scenario for a labyrinth-like narrative, but that’s where Frozen excels, it’s this stripped down approach that holds our attention for the films runtime. Due to the stories self-imposed limitations director Green has time to develop his characters and our affections for them before piling on the risk and danger. With its cold visuals playing off the icy landscapes perfectly, tension and danger are constantly assaulting the audience subconsciously. It’s this menace that truly haunts us as the film plays out.

Green’s appreciation for the films limitations truly pay-off. As the scenario grows increasingly worse, we share the characters despair because like them, we have no idea of what to expect. We know what they know, we have no insider knowledge of how things will play out and we suffer the ordeal every bit as much as the protagonists. It’s this cold, even heartless, approach that may alienate some viewers – this is by no means a enjoyable film in the traditional sense – but as an exercise in fear, tension and desperation the film is a triumph.

Those looking for a truly frightening film will find more than they bargained for here, those looking for the thrill-seeking jollies of Green’s previous effort, Hatchet, will sorely be disappointed; here he displays a true maturity as a filmmaker and as a great talent worth watching in future. That is, if he can stay away from the goofy elements of his debut that made him an overnight success: fun as that may be, there’s no merit to them and are forgotten within minutes, Frozen however, will stay with you long after watching and hold up to repeat viewing. Frozen is without a doubt one of the finest horror films to see the light of release in 2010 and comes highly recommended.

Frozen is out now to buy on Blu-ray or DVD.

The Loved Ones (2010)

Australian cinema really has come into its own again as of late. No longer the exploitation industry it used to be in the 70’s and 80’s it’s now a country producing some of the most exciting, thrilling and challenging films in the world. From films like The Book of Revelation to Coffin Rock and The Horseman to Van Diemen’s Land, it’s a country that continues to release impressive and daring material that remains underappreciated in Australia as much as it is outside of the continent.  Horror films like Wolf Creek have really brought attention to the dangers of the outback, but that’s a fear older than Australia itself. Director Sean Byrne however, has something far more delicious in store for us here with his feature debut, The Loved Ones.

Brent (Xavier Samuel), a depressed teen who enjoys a spot of self harming after the death of his father could never have imagined the trouble he finds himself in once he turns down a prom request from the school loner, Lola (Robin Mcleavy). On the night of the prom he is kidnapped by a man and held hostage. Turns out that what Lola wants, Lola gets and Daddy doesn’t take too kindly to anyone who doesn’t give in to her. It’s going to be one hell of a night for poor Brent.

There’s simply no describing how lusciously delirious this movie is. Lola and Daddy are destined for cinematic legend, they’re a duo so warped and deranged it’s hard not to get sucked up into their world. The film captures their mentality perfectly through the visuals; imagine a David Lynch film crossed with the teen-angst of Heathers and you’ll have a taste of what the film’s aiming for.  It also remains as unpredictable as a Lynch film, pending you haven’t seen the spoiler heavy UK trailer – avoid it if you can! – and it’s within this unpredictable craziness that the film thrills.

Equally as thrilling and unpredictable is new-comer Robin McLeavy. She embodies insanity here, but there’s a sultry side to Lola that attracts us to her. It’s this image of a blood-drenched girlie-girl that lingers in the memory, viciously screaming like a spoilt brat if she can’t get what she wants one minute and violently attacking the next: it’s this sassy psychotic that will bring Lola into horror legend. Then we have Daddy, a sickening paternal figure that will stop at nothing to please his daughter, even if it means ruining his happiness in the process.

The film is also surprisingly brutal. Brent is tortured and tormented in pretty explicit fashion, but it never crosses the line into straight exploitation. It’s graphic, it’s bloody but it’s never too excessive or discomforting that it alienates us. It’s thanks to this control from Sean Bryne that The Loved Ones ranks as not just the freshest horror film of the year, but also the most enjoyable. It’s a film that’s as sexy as it is shocking and as funny as it is violent; it’s everything horror should be. None surprising then that the film has been completely shafted by distributors, on a global level it would seem, getting the straight to DVD treatment here in the UK, the US still has no release date and the film is only just hitting cinemas in its native Australia! The Loved Ones is contender for horror film of the year; hopefully its audience will find it and cherish it on the home entertainment scene. Still, it would have been a treat to see this on the big screen! Highly recommended!

The Loved Ones is out to buy on Blu-ray or DVD now!

The Evil Dead (1981)

There are few films with a reputation as notorious as Sam Raimi’s debut, The Evil Dead. One of 80’s cinemas’ most cherished horror movies to have survived and flourished the slanderous allegations of corruption and obscenity launched at it by the Director of Public Prosecutions (DPP) who granted the film immortality by making it an official Video Nasty during the video age in the mid-80’s. Thirty years later and it’s now considered a bona fide classic by not just genre fans but by mainstream critics alike. It’s also been given a swank Blu-ray release courtesy of Sony Pictures. Oh how times change. To think that the distributors of films of this ilk once got sent to prison…

The story is a familiar one nowadays, but just in case. Five friends head off into a cabin in the woods for a fun-filled weekend but are attacked by demonic forces that live within them!

Simples.

The one aspect that seems to have been lost on most audiences these days is the fact that the original Evil Dead is actually a horror film. Due to the comedic influence that found its way into the sequels, the franchise now has a comedy-horror tag that isn’t deserved for the original. Granted, there are shades of intentional humour within the original, but it’s superseded by the unintentional laughs those will find when faced with the evident budget limitations in the effects department – The monsters seem to turn into mash potatoes! Granted, there’s a ‘eww’ factor to the proceedings, but most will just chuckle at the over the top grossness of the situations now.

Where the film does drive home its horror origins, is in its balls to the wall aggression. This was made in a period where no-name actors filled up the screen and the clichés didn’t yet dictate who would be left standing come the finale, if any. It’s also made from a period where directors liked to punish their cast, and director Raimi certainly pushed the envelope in that regard here. Tree’s attack and even rape their victims, Achilles tendons are annihilated by pencils in agonising close-up and axes are used to dismember loved ones but to name a few of the classic moments.

How does a film of this vintage, not to mention the budget restraint, hold up with the transfer to hi-definition? Luckily for us, marvellously! Of course this film was never going to look like the latest Hollywood flop-buster, and why would we want it to? This is a down and dirty picture and always has been, but it’s never looked this strong. Grain is evident but not to distracting levels, like certain releases of cult films have been on Blu-ray (I’m looking at you Stendhal Syndrome), and it gives the movie a pleasing filmic look and the sounds are cracking; some slight crackle remains but it’s nice that the films hasn’t been destroyed by the falseness of computers seeing as it was created by old school visual and sound equipment – on a shoe string – and has never sounded, or looked, polished. Those wary of the 1:85 aspect ratio need not to worry as the film has been re-framed under approval from Sam Raimi himself, and it looks great.

And now we get to the extras. There are plenty of extra’s here that have popped up on the numerous DVD incarnations of the film, but the big inclusion here for the new Blu-ray is a spanking new commentary by Rami, Bruce Campbell and Robert Tapert. The real joy though is the picture-in-picture feature that sports recollections from various horror icons from the likes of Brain Yuzna and Stuart Gordon to the likes of Alexandre Aja! It’s a brilliant addition to a must-have Blu-ray for cult fans and Evil Dead fans alike. Good work Sony! Let’s hope we see this loving treatment given to more cult gems shall we?

Full list of extras on this release are as follows:

• All New Commentary with Sam Raimi, Rob Tapert and Bruce Campbell
• Picture-in-Picture: Join us! The Undying Legacy of The Evil Dead
• One By One We Will Take You The Untold Saga of The Evil Dead
• Treasures from the Cutting Room Floor
• At the Drive-In
• Discovering The Evil Dead
• Ellen and Drama Teacher
• On-Stage Interview
• Make-Up Test

Treat yourself to The Evil Dead on Blu-ray as of the 11/10/2010!

Heartless (2010)

It's a tight rope to walk when trying to create a fairytale for adults. Sure we've had some attempts that have managed to pull it off effortlessly, who can deny the power and beauty of Geillermo del Toro's  Pan's Labyrinth? But for every Pan's Labyrinth we also have Snow White: A Tale of Terror or Rumpelstiltskin to contend with. As fun and cheesy as Rumpelstiltskin is, it fails to have the desired effect of all fairy tales; that of caution and distrust. Philip Ridley however has made a welcome return to film-making with a triumphant new fairytale that hits it's marks perfectly and gives us yet another gripping adult fairytale that ranks as horrific and affecting as anything in Pan's Labyrinth.

Jamie (Jim Sturgess) is an east-end photographer haunted by his birthmark. A large, heart-shaped blemish covering most of the left side of his face, it is the cause of much ridicule that is the creator of the introverted, shy man he is today. With news reports of escalating incidents of random violence carried out by hooded youngsters wearing demon-like masks. One night, he and his mother are attacked by this gang and his mother is murdered, swearing revenge Jamie set out to find who is responsible for his mothers death. Once he meets the sinister Papa B (Joseph Mawle) however, Jamie is offered everything he longs for, all he has to do is re-pay Papa B back when he asks him to. Needless to say, he's in for more than he bargained for.

What makes Heartless such a rewarding film is it's layers. I've given a brief outline of the film, but to know more would likely ruin it's twisted charm and appeal. This is a movie that was designed for repeat viewings, it's secrets aren't going to be revealed to you on first viewing; you have to re-visit and re-evaluate the film with the knowledge acquired upon previous viewings. Everything shot in this film applied itself to the character of Jamie, from the films colour scheme to the actual locations, each symbolize an aspect of understanding Jamie; even the belongings in his home add characterisation. It's also here where the fairytale aspect creeps in as Jamie's room is contains paintings of such classics as Beauty and the Beast and Peter Pan.

As hard as director Ridley has been working behind the camera with his crew for the film unique look, none of that hard work would have been futile hadn't the cast been up to snuff. Luckily Ridley has been blessed with a fine supporting cast to help aide Sturgess, who himself has given his best performance to date her. Timothy Spall and Ruth Sheen both give heartfelt turns here as Jamie's parents, while Eddie Marsan and Joseph Mawle provide the necessary malice the film needs. Clémence Poésy and Noel Clarke round the cast as Jamie's friend and love interest; both give memorable performances and Poésy provides the film with a welcome glimpse of light and softness.

Heartless is a dark film, not just visually but the subject matters the film covers are equally as heavy on the senses. It's not a happy film, situations spiral from bad to worse and just like all good fairy tales, no one will make it out intact, and this goes for the audience too. This is also the films biggest flaw, it's a cold film and may distract viewers from coming back to it and giving it the essential second viewing; where you'll find yourself re-watching the film while discovering another. Philip Ridley has returned to film-making with a bang, this is tough-as-nails stuff that's excellently acted by its ensemble cast and a welcome return to one of British cinemas reclusive talents. Here's hoping we don't have to wait 15 years for the next one!

You can buy Heartless on Blu-ray or DVD now!

Universal Soldier: Regeneration (2009)

Back in 1992, a then unknown German director by the name of Roland Emmerich was flown in to replace Oscar-winner Andrew Davis (The Fugitive) to make a big-budget action/sci-fi extravaganza featuring two of Hollywood’s biggest muscle-heads, Jean-Claude Van Damme and Dolph Lundgren. The film was Universal Soldier and it would become a smash-hit worldwide and one of the last good films Van Damme and Lundgren would appear in!

TV Movies and a theatrical sequel followed, I’ve not seen them as the negative reviews and crappy trailers kept me away, but what bought me to the third instalment? Or fifth if you include the TV movies?! It’s director, John Hyams. Son of Peter Hyams, the man who gave us The Relic with Tom Sizemore, Time Cop and Sudden Death (the last good Van Damme films!) all of which entertained me greatly as a kid. Seeing as Peter was working on this title as DP boosted my interest.

Two teenagers are kidnapped by a band of mercenaries, it transpires that they are the children of the Russian Prime minister and the groups’ leader is demanding the release of hundreds of political prisoners, if this request is not met within 72 hours then they will kill his children and blow up a nuclear reactor they have secured in Chernobyl. To make matters worse, the terrorists also have a Next-Gen UniSol (UFC badass Andrei Arlovski) in their ranks.

Luc Deveraux (Van Damme) is now living in Switzerland and being rehabilitated to integrate back into society by Doctor Sandra Fleming, it’s a bumpy road to recovery however and he still suffers from violent outbursts. When the NGU wipes out the American army and it’s few remaining UniSol’s, they turn their attention to Luc. Pumping him full of drugs and programming him to get the kid’s, stop the nuke and kill the bad guys, but the bad guys still have a trump card up their sleeves…

To think, eighteen years after the original an impressive sequel to one of 90’s cinemas biggest guilty pleasures would be produced, but its here folks and it sure-as-shit is enjoyable. Brutal, well-paced and excellently choreographed, Regeneration does exactly that; maybe not so much for the Universal Soldier franchise as this pretty much brings the film to a satisfying close, but for all the other 90’s genre films out there that deserve the decent sequel they never got, I’m of course referring to films like Cyborg, Blood Sport, Kick Boxer, Red Scorpion, hell, even Showdown in Little Tokyo! It’s about time these films had worthwhile follow ups.

What comes as a surprise is how mature the movie feels; the original had a disposable, even bubblegum, vibe to the proceedings but this one has a harsh sense of realism from the get go that is a pleasant surprise. Part of this stems from the setting and it grounds the story in an area affected by one of mankind’s worse man-made disasters; it would be disrespectful to have a lightness too the proceedings in an area that has seen some of the darkest days in recent history. It’s this maturity that gives the film a quality not many action films can claim these days, and it’s to the creators merit that the film turned out this good. Don’t let the quick release fool you, this is one of 2010 pleasant surprises and deserves its place on the shelf of any action fan, especially those of Van Damme, Lundgren or mixed martial arts.


Purchase the DVD here or Blu-ray here.

City of the Living Dead (1980)

Paura nella città dei morti viventi.

To say that Lucio Fulci is the most revered Italian Cult icon of the decade is an understatement. His films have grown in popularity from year to year, back before the millennium there was only really one way of seeing his films here in the UK – via Dutch/Swedish company EC Entertainment. They released his most popular films, along with his not so popular later outings, on to the digital format in their widescreen and uncut glory that, at that point, was forbidden on British shores.

If you didn’t have the internet and a credit card then you were destined to endure the heinous Vipco releases that removed all of the glory and featured rather un-flattering Pan&Scan presentations! Now, those of us who grew up with Fulci in the 90’s were no stranger to these horrific bastardisations, as the VHS releases were almost identical, apart from these new versions boasting a unflattering box placed on the front that proclaimed the new DVD releases as the ‘Strong Version’ which meant that the BBFC had let some added gore into ‘em. This didn’t mean dick really.
As luscious as the EC versions were in comparison to the UK releases, better was just around the corner. Anchor Bay (US and UK), THE company for Cult movies in the early 2000’s, was about to unleash their Lucio Fulci collection which featured all the gore and once again gave us those lovely widescreen presentations. Grindhouse Releasing then went and dropped the ‘must have’ release for Fulci fans when they partnered with Anchor Bay to release The Beyond in a lovely tin set that still fetches high prices with collectors. His reputation has gone from strength to strength thanks to these companies' hard work, but there’s still more to be done.

Flash-forward to 2010 and we now have our first taste of Fulci on UK Blu-ray! Uncut with original aspect ratio intact and bursting with supplementary material! Gone is the BBFC tampering! Gone is the Pan&Scan! Gone are those pesky Vipco covers! In comes the hi-definition! What a difference a decade makes.

Now, City of the Living Dead has faired surprisingly well with the BBFC in comparison to other Fulci titles. Upon it’s initial release it was only cut for one scene of head-drilling ultra violence; but more were to come when it came to the video release; luckily, the DPP never targeted the film and it was the first Fulci title to be released uncut here in the UK back in 2001. That doesn’t mean it’s Fulci’s ‘lightest’ film though, for this holds its own in Fulci’s gross-out oeuvre.

The suicide of Father Thomas, in the small town of Dunwich, unlocks one of hell's gates, and supernatural deadites come back to feed on the living. During a séance, a Medium named Mary (Catriona MacColl) appears to drop dead from fright; journalist Peter (Christopher George) is intrigued by the case and visits her gravesite on the day of her burial, only to discover that Mary is still very much alive and already in a whole lot of trouble but is thankfully saved by Peter. According to the Book of Enoch, if the gateway isn’t closed by All Saints Day then it will remain open for eternity and the dead will continue to rise and feed on the living. So Mary and Peter head off in search of Dunwich and attempt to save the world, but Father Thomas and his minions aren’t going to make it easy…

The first of his celebrated trilogy of fright flicks to feature the lovely Catriona MacColl, City of the Living Dead is a true testament to the maestro’s ability to generate cold, claustrophobic atmosphere from simple set-ups. His love for the work of H.P. Lovecraft truly shows here, not with the small town terror (Dunwich!), but with the fog shrouded streets and the decrepit vaults in which humanity fends off the otherworld; the only thing that would make this film more Lovecraftian would be to have the Freudstein residence, from House by the Cemetery, smack in the town’s centre!

The story is threadbare, a valid criticism that can be launched at the majority of Fulci’s output, but we aren’t interested in the film for it’s groundbreaking story arc, what we want is for the dead to rise-up and feed on the living in various graphic displays of grand-guignol bloodshed – and that’s where the film delivers. From the infamous head-drilling scene to the regurgitation of real sheep entrails, there’s something here to upset, or mildly unbalance, the stomach of the most hardened of gorehounds. However, that’s not to say the film is a full throttle splatter-fest, nay, it’s a slow paced little piece that acts very much like the supernatural forces attempting to end humanity: sporadic, grimy, unsettling and at times frightening but ultimately endearing!

After the success of Zombi 2 (Zombie Flesh Easters), Fulci found himself pigeonholed as a director who could churn out a half decent horror flick on time and within a limited budget, the fact that he was able to do it time-after-time during this golden age really does demonstrate the mans genius, he has given Cult cinema numerous films that will remain genre favourites amongst the ever-growing number of fans. It’s only fitting that his catalogue be given such deluxe treatment on the home media format – once branded a hack, the man is slowly starting to be seen for the original talent he was, maverick in his exploits, legendary, or infamous, to all who met him and inspiring to all who appreciates his style of cinema.

The new release from Arrow Video is a thing of beauty; the 1080p presentation is a revelation when compared to previous releases from Vipco, Anchor Bay and Blue Underground. The film has always had a grainy aura about it, which adds to the atmosphere, so it’s great that the presentation still contains an amount for the nostalgic out there, but they have cleaned the print up beautifully and trumps the best DVD release the film received from Another World Entertainment. Then there are the extras…

The set is a strong tribute to Fulci, more so than the film in question, but also to the people who worked with him. The disc is brimmed with interviews with likeable colleagues of Fulci and even a family member. There are interviews with Catriona MacColl, Carlo De Mejo, Luigi Cozzi, Giovanni Lombardo Radici and finally Antonella Fulci; the centre piece being a fifty minute career-spanning interview with Radici that covers the many deaths he’s undergone during his exploitation career! Most enjoyable however was Carlo De Mejo who remains a very passionate and charismatic chap whose love for the film and Fulci really shows.

The interviews are all greatly entertaining and each has a glossy approach, the animated introductions are classic and the little snippets from films that occur through-out add additional humour that will crack a smile in the hardest of fans faces. There’s also a trailer for the film, a booklet written by Calum Waddell, 6 postcards sporting various poster art and a fold-out reversible poster featuring Arrow’s newly commissioned art and a vintage poster on the opposite side. We are also given some ported over extras, first being Catriona MacColl’s commentary from an earlier Vipco release, and a featurette about Fulci from Arrow’s House by the Cemetery DVD entitled ‘Fulci in the House’. That’s not all folks! They’ve gone and commissioned a new audio commentary from Giovanni Lombardo Radici; which amazingly manages to re-frame from covering grounds mentioned in his interview!

Earlier this year I was fortunate enough to attend a special Fulci double-bill in Glasgow, City of the Living Dead was the main attraction, after The Beyond got the evening started in great style. What made it all the more special was Catriona MacColl and Giovanni Lombardo Radici being in attendance to offer a Q&A after the film! I managed to get some questions to them, some of which appear on Arrow’s new release, and some which will surface on their upcoming release of The Beyond. The real treat though, and a thousand thanks to Calum Waddell, was to spend some time after the showing with them. Getting drunk, and shooting the shit with the likes of Catriona and David Hess (who was also in town) was quite the experience! They were great people and truly touched by the number of people who came out to see them that evening. The next event is due in October and I can’t stress how much fun they are and urge you all to make an effort to attend!

City of the Living Dead remains a classic in 80’s horror cinema, and has finally been given the release it deserves thanks to Arrow Video’s hard work and the even harder work from the folks at High Rising Productions whom provided all of the extra material. Fan’s of Fulci should treat this as a no brainer and pick this release up ASAP, fans of Cult cinema will equally find the release essential due to the supplementary material brimming with a vast amount of insight from Cult cinema icons regarding genre favourites. In a word: essential.

Purchase the Blu-ray here.
Purchase the DVD here.

Day of the Dead (1986)

Much, much and much has been written about George A. Romero’s acclaimed … of the Dead trilogy, but there’s something at play here that brings fans back to these films and attracts hordes of new horror fans annually. So why shouldn’t I put in my five pence? I myself remember the first time I witnessed Night of the Living Dead on television in the mid 90’s, out in a cottage in the middle of nowhere in West Wales, late at night with some dodgy aerial reception that didn’t hinder the experience in the slightest, in fact it amplified the effect of the movie, as did my location. Luckily my mother was clued up and had friends with an equally fine taste in entertainment, so I was witnessing Dawn of the Dead within days of my first expose to this zombie outbreak.

That tape didn’t move from my VHS player for pretty much my whole stint in High School (except maybe for the occasional viewing of Pulp Fiction, From Dusk Till Dawn or Usual Suspects – hey, it was the mid 90’s, who wasn’t watching them?) causing me nightmares on a nightly basis, it didn’t bug me, they actually made sleep more enjoyable. Living out my own zombie outbreaks in my head on a nightly basis, who could begrudge that?

Finding the final piece of the story didn’t come for a little while longer however, when cable station Bravo finally showed it late one night, needless to say I was ready, very ready. How was this going to live up to Dawn of the Dead? For me that was the pinnacle of horror cinema, if a kid would claim they’d seen the greatest horror movie ever, normally Wes Craven’s Scream during this period, I’d call them a liar to their face: What did they know?

I may only have been 13 but I thought I’d seen the greatest accomplishment in horror history; could the darkest day in horror really beat it? Back then I’d have said no, but now? I’m thinking it did.
The world has been defeated; the walking dead have claimed the world for themselves. Survivors are few and even further between; those who have made it through are gathered in an abandoned military silo. Risking their lives to venture into heart of Florida to look for stragglers, hope of finding further survivors is bleak to say the least. Sarah and fellow scientists, Dr. Fisher and the eccentric Dr. Logan, are conducting various experiments on the undead in hopes of finding a cure or reversal to the outbreak. Captain Rhodes and his men, including Sarah’s boyfriend Miguel, have other designs. They want nothing more than to get free of the silo and attempt to locate other military personnel. John, a helicopter pilot and Bill, the radio operative round out the group as a third party to the scientists and military bodies: keeping themselves to themselves in their self made ‘Rtiz’ cabin.

Rhodes has become a tyrant, claiming the clan as his property he barks orders and makes demands of everyone in the silo; even those not under his command. He’s unhappy that his men are taking fatalities due to the scientists requiring zombie specimens and demands evidence that their work is worth the risk. As anger boils, distrust runs high and hate is the only common bond between the inhabitants; it becomes apparent that being around other humans is just as destructive as being out there with the zombies.

Dr. Logan has a breakthrough with his pet experiment, Bub. A zombie that shows signs of emotion towards his captor and is even docile around other humans, it would appear he’s been taught to behave. Rhodes in none too please by the circus act and threatens to close down the project totally, however a tragic accident sets in motion a chain of horrific events that proves just as deadly as any zombies threat they were trying to protect themselves from.

‘The darkest day of horror the world has even known’ couldn’t have been a more fitting tagline for this movie. The bleak realisation that humans are their own worst enemy (which was touched upon in both Night and Dawn) never makes for an entertaining watch, but Romero ingeniously makes the villains of the piece so fantastically vile that you get some relief in seeing them perish. On the flipside, there’s also a humanity to them, at heart they’re scared little school boys resorting to bullying tactics as a result of severe hardship from their authority figures.

The most human of character however, and the irony isn’t hard to miss, is Bub. There’s so much to praise in Sherman Howard’s performance that it’s pointless discussing it, all you need to know is he’s possibly the most memorable character in all of Romero’s Dead movies. Having Bub as the heart to this otherwise heartless movie is also cause for more darkness, the tone is so bleak that you have to question whether or not humans are worth saving in a world were the lifeless show more care and compassion. Even the charismatic John and Bill show favouritism towards leaving other humans behind and taking care of themselves – though with Rhodes in charge of the show you can hardly blame them.
Much criticism was launched at the unsympathetic characters, this has always bothered me. Romero obviously wanted to do something different here, possibly due to his own observations on Regan-era America? Maybe he was just angry at the fact he had his budget pulled from beneath him and lashed out? Or it could be he just felt that it was the logical progression for the series? Nice guys finish last they say; so where does that leave mankind at the end of the earth? Whatever his reasons were, it was a brave decision that is only just starting to find its rightful place in the horror canon as the classic that it is.

Arrow Video has just released a 25th anniversary edition Blu-ray and it’s a thing of beauty. The film looks fantastic in 1080p resolution, with vivid colours and strong blacks making the final onslaught of blood and guts extra easy on the eye; just not on the stomach. They’ve also gathered plenty of extras for the fans; porting over various features and documentaries from past releases (Anchor Bay US and the previous Arrow DVD release), they’ve chucked tonnes onto a second DVD. On the Blu they’ve carted over a commentary from a previous release and they’ve also commissioned some new features exclusive to this release, by up and comers High Rise Productions.
Joe of the Dead is an in-depth interview with the obnoxious captain Rhodes himself, Joe Pilato. He discusses his roots in acting, how he met George A. Romero and how he came to be cast as one of 80’s cinemas finest villains. He also offers up his thoughts on the great man, a statement he’ll state himself in an entertaining 50 minutes of chin-wagging. Travelogue of the Dead is the second feature and it’s a fun 15 minutes of Joe at screenings of Day of the Dead in Scotland and Ireland meeting his fans and holding entertaining Q&A sessions. If you think he looks a little tipsy during some of these sessions I have it good authority that he actually was, rock and roll, Joe… rock and roll.
If that wasn’t enough we also get a miniature replica UK quad poster, four covers to choose from and a booklet entitled For Every Dawn There Is A Day written by UK journalist Calum Waddell, which features some great insights from cast members and his good self. There’s also a marvellous 24-page comic book produced exclusively for this release, Day of the Dead: Desertion a prequel of sorts that tells the story of the iconic Bub and how he ended up in the situation he finds himself in during the movie. Who could refuse such a loving package?

Purchase the Blu-ray here.
*Please note that the images contained within this review are not taken from the Blu-ray.