![]() Not exactly subtle, pretty much conking the audience over the head with their parallel of the raised dead finding meaning by mindlessly stumbling about the Mecca of consumer capitalism with the same attributes of their living counterparts (especially when compared against the first entry in Romero’s unbelievably important zombie trilogy, “Night”, where I’d argue the director wasn’t as consciously aware of his motivations for creating his apocalyptic vistas, with his themes expressed in less conscious ways, where his feelings towards societal critiques and recognition of the wildly exploding social turmoil at the time served as unspoken backdrop informing the milieu, rather than as directly approached subject matter), but, man, are they beautiful nuggets… perfect mixtures of tongue-in-cheek black humor with heady content, delivered with just the appropriate tone of seriousness (matching right up within a movie constantly assaulting us with garish images of violence that are grotesque, yes, but also have a deliberately quirky comic-book quality – in fact, it’s always been kinda hard for me to understand the uproar this film caused at the time – I’ve always felt the much harsher, in-your-face, still brilliantly impressive gore gags achieved by that grand master of gore himself, Tom Savini, for the follow-up and final trilogy entry, “Day” are far more censor-pushing). They’re so fun, so memorable, it’s a joy to repeat them by just typing them out. ![]() Remember that they want to be in here.”Īh, yes, those trenchant little observations about the importance of the suburban shopping mall for Romero’s shambling dead. This was an important place in their lives.” Zombi (aka, Dawn of the Dead) – Italian/Dario Argento cut (George A.
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