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Source: http://www.azcentral.com/

It’s not Romero’s best, but it’s not bad.


But what is Romero’s best? And everyone else’s? The zombie movie is a surprisingly rich genre, if you’re into that sort of thing. And if you’re not, you should be.


Here’s our pick for the best zombie films ever:


1. Night of the Living Dead (1968): The first is still the best. Shot in glorious black-and-white, Romero’s tale of the dead rising and, you know, EATING PEOPLE, is every bit as scary today as it was then, no matter how many great zombie films have come since. From the first scene in the cemetery to the soul-crushing ending, a terrifying classic.


2. Return of the Living Dead (1985): This spoof of Romero’s movies is hilarious, truly - the line “Send more paramedics” will slay (no pun intended) anyone who’s ever seen it. Director Dan O’Bannon obviously loves the films he’s sending up and has fun with other pop-culture icons, too: two of his characters are named Bert and Ernie. Love that. Sometimes it’s just fun to walk around and say, “I can smell your brains!”


3. Dawn of the Dead (1978): In which Romero uses his zombies to take a bite out of the shopping-mall culture (pun intended that time). A lot of people prefer this to Night, and there’s an argument to be made in that regard. But without the context of that first mind-blowing experience, this wouldn’t strike quite so strong a chord.
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Source: http://www.hollywoodreporter.com/

The Weinstein Co. is launching the new distribution banner Third Rail Releasing. George A. Romero’s “Diary of the Dead” will be the first movie out of the gate for the label, which opens Feb. 15.


Third Rail’s goal is to showcase what the company describes as “inventive and edgy vanguard films” from independent and maverick filmmakers with an aim to use “groundbreaking” marketing tools. TWC is partnering with independent home-entertainment distribution company Genius Products, which it co-owns, on the venture, and plans to release six to 10 movies a year.


TWC already runs the well-established genre arm (and company profit leader) Dimension Films. While launching a new banner may seem redundant or an unnecessary addition, the company says Third Rail is not another genre label, despite its launch with “Dead.”


TWC says the label is the best way to properly market and maximize revenue on low-budget films of all kinds, either around the same budget range as the $3-4 million “Dead” or lower. Films with bigger budgets and box-office potential, such as the Denzel Washington drama “The Great Debaters” or a horror franchise entry like Rob Zombie’s “Halloween,” will continue to be released under by TWC, Dimension, or in partnership with MGM or other distributors.
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Source: http://www.horror-movies.ca/

Now whenever you talk about a zombie movie I think most fans will definetly tune in. But what about mixing in Japanese chicks dressed up as cowgirls and in school uniforms? Yea I think that definitely has some classic potential written all over it or at least we will be in for one very odd experience at least.

The film I am speaking of is based off of a popular video game in Japan called Onechanbara. Now because its almost completely all in Japanese there isn’t much known about the project other than it is expected to be released in Japan around April. You can check out the Japanese gaming site Gamewatch for a few stills and promotional photos for the film. Check out the poster below..

Source: http://www.brandrepublic.com/

Sony Pictures Home Entertainment is allowing user-generated zombies to roam homepage ads as part of an online campaign for the DVD release of ‘Resident Evil: Extinction’.


Based on the popular videogame series, ‘Resident Evil: Extinction’ stars Milla Jovovich, who returns for the third time as Alice, battling again to defeat the Umbrella Corporation and eliminate the deadly virus that threatens to make every human being one of the undead.


The campaign, created by Greenroom Digital, drives traffic to a ‘Resident Evil: Extinction ‘microsite where visitors can create their own zombie avatar, which they can personalise by uploading a photo and “zombifying” it.


The avatars are placed in an infected zombie pen on the microsite where users can strengthen their characters by feeding and exercising them.

Users will battle to survive an online zombie cull with the last character standing winning a high definition home entertainment system.


There is a countdown clock to 9am on February 18, the release date for the DVD, at which time all zombies will be released into the homepage ads on sites including FHM, Kerrang!, Empire, NME, Nuts and Games Radar.
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Source: http://www.fangoria.com/

Known under a number of titles during various theatrical releases and rereleases, ranging from the poetic (DO NOT SPEAK ILL OF THE DEAD) to the overtly commercial (DON’T OPEN THE WINDOW), Jorge Grau’s 1974 THE LIVING DEAD AT MANCHESTER MORGUE (coming February 26 in a double-DVD set from Blue Underground) is a solidly creepy genre entry by any name. It’s required viewing by anyone with an interest in damn good zombie flicks, or European horror films of a certain era.

After accidentally damaging his motorcycle by backing up on it with her car at a gas station, a sleepily exhausted woman named Edna (Christine Galbo) and George (Ray Lovelock) become reluctant traveling companions. Along the way, Edna is attacked by a recently deceased vagrant, and George discovers field workers operating a piece of agricultural machinery that uses radioactive sound waves (!) to influence primitive insects and microbes to destroy each other, making for healthier farming practices. But with a number of strange and violent occurrences happening in the immediately outlying area, George begins to wonder what effect this device may be having on the local populace—both living and no longer living.
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While covering the night shift at a small-town fire department, an ambitious young television reporter (Manuela Velasco) and her cameraman follow the crew on a call to rescue an elderly woman unable to escape the inferno that is consuming her home. Upon their arrival at the scene, the calm midnight air is pierced by the sound of horrific screams, and the television report takes an unexpectedly dark turn.

Source: http://www.fangoria.com/

As part of the NIGHT OF THE LIVING DEAD 40th Anniversary Tour that makes a stop at Fango’s West Coast Weekend of Horrors convention, April 25-27 at the Los Angeles Convention Center (see item here), the AFI Dallas 2008 International Film Festival will host George A. Romero and the cast and crew of his zombie landmark on February 21 at the Landmark Inwood Theater in Texas. A screening of the seminal undead film will be followed by a Q&A with the director plus Marilyn Eastman, Bill Hinzman, Judith O’Dea, Kyra Schon, Russ Streiner, John Russo and George Kosana. Also appearing at the screening will be genre notables Malcolm McDowell, Dee Wallace Stone, Danielle Harris, Kristina Klebe, Courtney Gains, Scout Taylor-Compton and Ken Foree (all from Rob Zombie’s HALLOWEEN), FX maestro Tom Savini, Ed (TEXAS CHAINSAW MASSACRE) Neal and Kelli (NIGHT OF THE COMET) Maroney.

Source: http://www.cinemablend.com/

I need to say right off the bat that I’m not a fan of horror movies in general. I just can’t get into them. George Romero’s zombie flicks are the only real exception to my lack of appreciation for the genre. Since seeing Night of the Living Dead as a kid and finding myself both terrified and fascinated by the film, I’ve always had a thing for Romero’s style when it comes to horror movies. Generally I think it’s the combination of a good story, good dialogue and good gore that make his films so great. Unfortunately, in the case of Diary of the Dead, while the gore was present, the dialogue and the story were severely lacking.


Diary of the Dead is told from the perspective of a bunch of college kids who capture their experience with zombies on film as the attacks break out while they’re off in the woods shooting a no-budget horror movie. The film starts out with some video footage of a zombie attack and a voiceover of Debra (Michelle Morgan). She explains that the footage we’re about to see is based on their accounts with the zombies and that she’s presenting the film to us because people need to know the truth. Her boyfriend Jason (Josh Close), whom she speaks about in the past tense, is credited as the producer of the film.


What sets Diary apart from the previous Of the Dead films is the fact that the entire film is told from the perspective of Jason’s camera as well as a few other cameras that come into play during their adventure. The fact that Jason refuses to put down the camera even when zombies are attacking his friends is something that is addressed numerous times throughout the movie. Debra doesn’t understand why he insists on capturing what is clearly the worst few days of their lives on film. His argument is that people need to know what really happened rather than having to rely on what the media is telling them.


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Source: http://www.realmovienews.com/

Without the need to explain all of the details behind the virus which has caused humans to become flesh-eating zombies or the origins of the Umbrella Corporation who is responsible for it, the third chapter in the Resident Evil franchise actually manages to simplify the story enough to become the most enjoyable film in the series so far. Without the need for silly back-story, which was created for a video game series first, Resident Evil: Extinction is allowed to be a straightforward action-horror film.

This isn’t to say that it is a perfect film or that the bevy of supermodel women fighting zombies is believable, but the other films seemed to fall apart with an over-reliance on complex storylines which quickly removed the audience from the visceral feeling the video game brought. The third, while less interested in the stories, feels much more like the video game. After all, the story enhances the games but it is the zombie action which keeps bringing fans back.

It also helps that Extinction brings the action on the road, taking it to a post-apocalyptic Las Vegas, which has been ravished by rabid crows and taken back by the desert. It also happens to be near an underground Umbrella facility, so it is the location newly upgraded Alice (Milla Jovovich) is heading to. At this location there are several Alice-like creations being cloned as an attempt to cure the virus, but this is just another disaster waiting to happen, and eventually another mutation to deal with.

On the surface all of the survivors are forced to keep moving as the only way not to draw the attention of the zombie masses. A caravan of survivors complete with comic relief (Mike Epps) and a fearless leader (Ali Larter) cross paths with Alice and make a stand together in Vegas, resulting in a majority of the impressive fighting sequences. At just over ninety-minutes, Extinction isn’t a complicated film otherwise, and perhaps that is why it seems to work better than its predecessors. Very few sequels manage to improve in the way Extinction has, and it ensures further films in the franchise.

There are deleted scenes and four featurettes on the DVD, including the usual making-of number. The other three are technically inclined, especially one about the visual effects for creating the desolate land of Las Vegas, for which miniatures were used. There is also a featurette about the zombies and how they have changed from the other films. There is also a commentary with director Russell Mulcahy, writer/producer Paul W.S. Anderson, and producer Jeremy Bolt. The real treat for fans is the sneak peek of the first CGI Resident Evil film, “Degeneration”.