|Is this a great poster, or what? Bela Lugosi is|
the evil plantation owner in this classic.
I like that the zombies are a cultural stand-in for us—the empty, rabid consumer, and this characterization can be shaded by religion or science, sped up or slowed down, to further delineate what the filmmaker is trying to comment on. Of course, some would argue that the zombie movie is more of a post-apocalyptic exploration of humanity, rather than a simple horror film. I say there’s room for both, and the best zombie movies split the difference handily.
This is another Top 5 List, meaning that there’s actually a lot more to the rankings, but when you get down to the final five, you’re fully steeped in everything that makes the list great in the first place. And since this is a movie list, that’s partially why you won’t see The Walking Dead listed. The other reason is because it owes SO MUCH to the Romero zombie movies, and everyone knows it anyway, that we’ll just assume if you’re reading this list, you know it already, too. If you show these five zombie movies to a person who’s never seen a zombie movie before, these five movies would encompass the full range of all that is cool about the modern zombie movie.
All that aside, if you forced me to put The Walking Dead on this list, it would bump Dead Alive up to number 5 on the list. I think it’s the best one at exploring how man becomes monstrous in the absence of civilization, for no other reason than it has the ability to draw those gradual changes out over a long viewing time. It really does what no other zombie movie has been able to do, and that’s show us what comes next. So it would the Top 5 for that alone. Okay, enough about The Walking Dead. Let’s talk about the movies that made it possible!
|And with one bite, that monkey rat undoes the whole |
damn neighborhood. Starting with granny, there.
Dead Alive (1992)
Before Peter Jackson became the Laird and Steward of Middle Earth, he made his reputation as a gifted, if twisted, horror director because of Dead Alive. Widely considered one of the grossest movies of all time, this gore-soaked opus is full of black comedy and red meat. The plot is simplicity itself: a monster rat from Skull Island (yes, THAT Skull Island; what, did you think there was more than one?) bites an old lady and confers upon her the insatiable hunger of the living dead. Awesome.
You won’t believe some of the zombie kills in this movie. Jackson was always an innovator, and he intentionally tried to overdo it with this movie. As a result, it’s more shock-funny-gross out than truly scary, but it is so worth watching to see where this veteran filmmaker started out.
|I know it looks like a pack of Vegans running to a Whole |
Foods grand opening, but trust me, in the context of
the film, it's bloody terrifying.
28 Days Later (2002)
Now, if you want really scary, this is more your speed. The zombies are fast, and furious in 28 Days Later. The disaster du jour is a biological pathogen that turns people into savages. This was one of the most effective “do-overs” of the slow, shuffling zombie in that every component of the movie makes sense. The film also conveys a real sense of isolation that few other end-of-the-world zombie flicks have be able to equal.
The sequel, 28 Weeks Later (2007), was long in coming and short on improvements. The civilian government has tried to rebuild, and most of the movie takes place in the tenuously established new world order. Of course, it doesn’t take much for everything to come tumbling down again. I’m not sure we need a third one in this “franchise,” but it’s never up to me.
|Don't let your father's underwear fool you. When these |
guys get going, it's spooky and creepy in equal parts.
Night of the Living Dead (1968)
Now we’re talking! George Romero probably had no idea what he was kicking off when he made this low-budget feature around the simple premise that when there is no more room in Hell, the dead shall walk the Earth. With that ersatz Biblical pronouncement, we’ve got a town suddenly besieged with corpses that refuse to lie down.
The film is a simply shot, tightly plotted survival film, with a jaw-dropping ending that, if you consider it with the next two movies in the series, is a clue to the cynicism and nihilism that was to follow. The modern zombie movie starts with Night of the Living Dead.
|Attention K-Mart Shoppers, we have a special on |
BRAAAAAAAAINNNNNS! Actually, these zombies
eat the whole person, which is responsible consumerism.
Dawn of the Dead (1978)
Why it took George Romero ten years to make the sequel to Night of the Living Dead isn’t important. It’s mostly when he made Dawn of the Dead that added that layer of commentary to his end of the world zombie scenario. As you can imagine from the title, we pick up at the beginning of a new day in a crowded city, and the shit has hit the fan. A small band of survivors escape the chaos in a helicopter, looking for a place to hole up and wait for whatever comes next. What they find is a shopping mall.
With the simple two-line exchange of dialogue, Romero invented the post-modern zombie as mindless consumer. This would inform other zombie movies for decades to come (and still is, to some extent). Zombies are the perfect metaphor for the mindless, insatiable consumerism that is part of the American experience. The survivors create a little utopia that is all too quickly beset upon by the other danger in a post-apocalyptic world: the other survivors. Romero’s third movie, Day of the Dead (1985), isn’t as pointed in its commentary, but is at least a satisfying conclusion to the trilogy.
|This is the build-up to one of the greatest seduction scenes|
in the history of horror films. I am dead serious.
Good Lord, what a movie. Re-Animator, with director Stuart Gordon at the helm, jump started the trend in Lovecraftian film making, ironically, by leaving most of the things that make an H.P. Lovecraft story out of the film entirely. What’s left is a one-on-one exploration of man’s quest for knowledge with no thought as to the consequences of that quest, what it will cost, the morality and ethics of what’s involved to achieve those answers, and whether or not we should be asking them in the first place. Yeah, it’s Things Man Was Not Meant To Know, only with violent, mindless animated dead. I put it in the zombie camp because at the heart of it all, Herbert West is a zombie master in the name of science, rather than sorcery (and he’s played to perfection by the brilliant Jeffrey Combs).
Herbert West is a man of singular vision, and the witty, if darkly so, script, along with Combs manic acting, makes you care for him even though you know he’s doing horrible things in the name of science. When other people find out about West’s little side projects, their own self-interests come into play and West has to get his hands dirty—well, dirtier.
Re-Animator turns most of the zombie conventions on its head—sorry, bad joke—by not restricting itself to intact bodies. One of the best scenes in the film is also the most shocking and whacked. These guys knew what they were doing, both in terms of casting and also in knowing what would make people squirm. The film is less horrifying and more repulsive to most. The sequels are entertaining, but nowhere near as brilliant as the first one.
|Simon and Nick. They do a lot of this in the movie. |
BONUS FILM! Shaun of the Dead (2004)
I have a difficult time with this film. It’s not scary at all, and I don’t think it was supposed to be, either. I am probably one of the few people that doesn’t find it that funny, either. And yet, I’ve watched the movie several times, because it’s a commentary on the zombie scenario in general. If we accept the premise that the zombies are the mindless consumer, then Shaun of the Dead is about the blue-collar idiot’s response to the zombie apocalypse.
The idea of two working-class man-children who are so self-absorbed that they don’t notice the problem until it is literally on top of them is a neat idea, I guess, but then the film changes into a redemption story with Shaun trying to patch things up with this ex-girlfriend. This goes against all of my survival instincts and really bothered me as I watched them make all of these mistakes (I know, they were attempting to write a movie as if they didn’t know anything about zombies). It was more frustrating the first time I viewed it. My take has mellowed on repeated viewings. However, I can’t recommend this to anyone wanting a good zombie movie, because it’s not a good zombie movie. It is, however, a good Edgar Wright film about relationships, which is what he’s great at, set in and amongst a zombie uprising. Not the same thing. If you’ve seen all of the above films, and want a kind of video essay on the metaphorical underpinnings of the pop culture zombie, then this is your film.