Showing posts with label Tom Savini. Show all posts
Showing posts with label Tom Savini. Show all posts

Thursday, 23 June 2016

More Favourite Horror Flicks, Alphabetically: Dawn of the Dead


Dawn of the Dead
Dir: George A. Romero. Starring Gaylen Ross, Ken Foree, David Emge & Scott H. Reiniger. 1978

George A. Romero returned to the familiar shambling grounds of his groundbreaking Night of the Living Dead (1968) with a more openly satirical, day-glo splatter fest. The hype when Dawn of the Dead was released was astounding. A full-page ad in Rolling Stone magazine promised: “There is no explicit sex in this picture. However, there are scenes of violence which may be considered shocking.” And at the time, boy, were they! Unfortunately, the under-age me saw the cut Canadian version at my local theatre. Images in the first issue of Fangoria, however, let me know what I was missing. Seen uncut, Tom Savini’s effects give guts to the film’s plot, which, by now, is the stuff of legend: Zombie plague survivors take sanctuary in an abandoned shopping mall where the dead return out of mindless habit. Obviously, Romero was giving us the last word in consumerism, but he had even more on his politically-oriented mind. Romero frequently anchors his films with strong female and African-American characters, as evidenced in this, the ultimate zombie flick.


Thursday, 17 October 2013

My Favourite Horror Movies, Alphabetically:
Martin


Martin
Dir: George A. Romero. Starring John Amplas, Lincoln Maazelm, Christine Forrest, and Tom Savini. 1976

I love Romero’s Night of the Living Dead and Dawn of the Dead, but with Martin, the filmmaker left the undead to concentrate on a single sad, solitary psychosexual, and delivered what is, for me, his finest flick. Martin is a post-teenage blood fiend who is sent to live with relatives in industrial Pittsburgh. It’s there that the battle between folkloric horror and mental illness is fought, aided by outstanding effects from Tom Savini, who also acts in the film. This contemporary take on an ages-old monster (the vampire) works as smoothly as Romero’s updating of the zombie, and serves to (sympathetically?) advance the modern concept of the human monster among us as Hitchcock did with Psycho.