Shitting over Romero's legacy to sell a bad film.
"If you have ever seen an Umberto Lenzi film before, then you know what to expect. The director cut his teeth making giallo films in the 70’s, as well as cannibal films such as Man From the Deep River and Cannibal Ferox.
Unsurprising, then, that this paper-thin plot is used as a vehicle for eye-gouging, throat-slitting, breast-tearing, head-popping."
"Romero is satirising a decade that ushered in 'me,me,me' politics. In Night and Dawn, there remained the faith that humanity will always (eventually) pull together. Day doesn't have that optimism: the humans are worn down and feel put out by the needs of their fellow survivors when they're thinking only of themselves. "
"The first 20 minutes are a vital component of [Dawn of the Dead] in my opinion. Most zombie films rush through the downfall of society part entirely. The viewer actually witnessing the death of human civilisation, provides some much needed context to proceedings.
Firstly it provides the pathos of humanity's sad end, but it also shows how incapable humans are in the face of a major world changing crisis."
"Night of the Creeps is a strange film to describe. It's equal parts fifties' alien/zombie B picture, teen rom-com, and film noir, in an earnest attempt at creating a truly subversive horror comedy."
"For some reason forever lost to time, the Italian horror cinema of the Seventies and Eighties had an obsessive drive to produce as many zombie movies as possible.
During those two decades, Italian directors created more shambling forms than a drunken flooring company."
"Night of the Living Dead's social commentary on race couldn't be more obvious. Black actors simply did not get to play the lead role in a film featuring an otherwise all white cast.
They certainly were not allowed to play the articulate and capable hero who slaps the hysterical white woman and dominates the take charge white patriarchal figure. Ben does exactly all of those things in this film."