Buy Dawn of the Dead DVD
February 9th, 2010 by tameika2167678
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Imagine. A clam still morning. A promise of a current day. A promise of esteem, of hope, of joy and prosperity. A promise shattered. A fresh dream takes over . . .
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Welcome to this heroic modern world, teaming with the hungering legions of the damned and demented. An inexplicable virus has taken over the barren husks of those who have died and has risen them as modern beings - - - beings who must sate themselves on the gory, writhing remains of the living. And, in the soulless eyes of these macabre creatures, a modern world takes make - - - a world filled with the wails of the tormented dying, a world drenched in the blood of innocents, a world where corruption and decay rule all, a world where hope has died and been buried. In this Stygian realm, the few survivors must do a modern plot of life, must lock themselves in a fortress of solitude for their physical safety. They must, regardless of the consequences, band together against the repulsive hordes that await their warm flesh. However, will the dreary onset of mental imbalances, unrequited loneliness, and barren heartedness eat them alive before their loved ones do? Only time will exclaim. The clock is ticking. The dreary are waiting. Step up to the gallows. . .
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A Film to Die for:
While the fright genre has long been home to the musings of the demented, Dawn of the Tedious takes depression and loneliness to a whole unique level creating a film that, simply set, is to die for. The aura is suitably, almost entrancingly, morbid as the film delves into not only the gory rampages of the newly turned, but on the all too actual emotions experienced by the few survivors as they struggle to remain alive and, even harder, sane. While Dawn of the Wearisome is by no means a deep film, it does have that obvious something, that inexplicable magic, that makes the viewer care. Yes, indeed, this is one those films that you will employ yelling at the cover, warning the unwitting characters to turn around, or not go down that creepy corridor, or even better, not to wing arrive those that have honest died, indulging in long moments of exertion without remembering fair what happens to the corpses of the infected victims. Yes, the characters lack that obvious brain power, but, unlike most zombie flicks, it’s believable. They reside in a world that rotates around death, not life. A world that overnight turned into a carnal house stacked with the bodies of those they once loved so it is acceptable, even believable, that the characters would have anguish grasping the ramifications of some of their actions, including their “bold” notion in the conclusion.
Of course, the best chronicle in the world is only as proper as its telling. How many times have we, the exalted viewers of America, been presented with an tantalizing movie idea that despite the ingenuity has failed on every level (Aeon Flux comes to mind) . And, conversely, how many times have we been presented with a simple, unadorned epic that for some reason spellbinds the entire audience (assume of Paper Moon.) Dawn of the Humdrum most certainly falls into the later category. Like most George Romero films (with the exception of that travesty Land of the Listless) the acting is shimmering and emotional, the special effects are surprisingly (and sometimes upsettingly) realistic, and the entire aura of the movie from beginning to destroy is bad yet somehow, strangely curious. Dawn of the Stupid creates a wicked world, yet the viewer will want to visit it again and again.
As the movie gains force, the conclusion rushes forward and although, as briefly mentioned above, the characters’ plucky method does exhibit the viewer with major qualms, it is believable and even grand. Unlike those “cliff hanger” movies that misconstrue intrigue with irritation and resolve to raze with no revelation or meaning Dawn of the Listless ends dramatically, poignantly, and memorably satisfying the viewer and rounding out the entire movie nicely, leaving no room for complaints or questions. Also, one word of advice, be certain and explore the ending credits because an famous event is actually portrayed as the credits role. This is allotment of the conclusion and is highly vital.
Extra Information and a Mark to Potential Viewers:
The version of Dawn of the Stupid that I viewed was the unrated director’s gash (which I highly recommend) . The film was originally rated R in theaters. Since this movie contains rude gore, violence, terrible language, and brief scenes of nudity, viewer discretion is advised (and yes, I got that from TV) . For those who are eager in the actors/actresses these are some of the names of the outstanding cast: Sarah Polley, Ving Rhames, Jake Weber, and Mekhi Phifer. Also, Dawn of the Tiresome boasts an generous soundtrack especially the concluding song, so don’t miss it!
- Ravenova
Let me initiate by saying that I am a titanic fan of the Romero trilogy, and possess that those movies are irreplaceable. Every fan of the fright genre should fill those films. However, this does not mean that I was not able gaze this remake without an inaugurate mind. In fact, I loved this movie. Rather than try to completely re-do the Romero film, and in so doing step on Romero’s toes, the filmmakers went for a different trip on Romero’s basic plan.
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For those of you who are familiar with the fresh Romero version of Dawn of the Dreary, you know that Romero was not going for the full-fledged dread movie enact. Determined, the movie had some jumps and some gore, but for the most allotment Romero’s film was a satire. Romero did a spacious job of combining social commentary with some panic elements, which is, in itself, a statement. This remake, however, merely goes for the thrills and chills.
The 2004 version of Dawn of the Insensible throws you immediately into the horror/gore, and proper from the onset of the opening credits you know that this film is no satirical statement. Sarah Polley plays a nurse who wakes up one morning to net herself in the middle of a nightmare…only, it’s not merely a nightmare but a waking reality. Her neighbors and husband have been turned into walking (running) corpses (more similar to those in 28 Days Later than Romero’s slow-moving, rigor mortis ridden zombies) and she must watch hurry before thinking twice. She meets up with a few other lucky survivors, and they all gain shelter in a shopping mall (aptly named “Crossroads Mall”) . This grand haven seems almost too satisfactory to be accurate with all the supplies they need to last until more abet arrives, and it is. When the “wonderful haven” in which the survivors are staying is compromised, they must devise a concept and again sprint the horrors of the bloodthirsty walking plain.
Overall, I assume this was a tall film that all fans of awe should be able to like. The acting was suitable, the effects were expansive, and the residence was cohesive. Though the movie maintained some of the elements from the modern Dawn of the Insensible (the shopping mall setting, some cheesy mall music playing in the background, some lines of script that served to epitomize the blase routines many people continue to follow throughout their blase consumer-driven lives), for the most portion this was an entirely different film. I really liked the fact that the filmmakers chose not to reduce and paste Romero’s script, but rather effect a unique film based on his gargantuan concept. I consider that anyone who enjoys jumping in their seats at the theater, and intense apprehension films in general, will treasure this movie. I, for one, will anxiously await the DVD release!
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