PETER AND PAUL TV SERIES 1981 DOWNLOAD TORRENT MOVIE
But, in terms of volume and often quality, the zombie movie has taken a backseat in recent years. There's still a lot of, ahem, hunger for the genre in indie cinema. In the years since, the production on zombie movies has drastically slowed, especially at the studio level. There were post-modern deconstructions ( Cabin in the Woods, Zombieland), clever mutations to the DNA of the creatures ( Mulberry Street, Pontypool), foreign films ( Rec, The Horde), remakes of foreign films ( Quarantine), and animated films ( ParaNorman), not to mention all the straight-up entertaining low-budget shlock that was hitting DVD shelves en masse. What was even more amazing was how many of them were worth watching.
By the end of the early '00s, there were literally dozens of zombie movies a year (and more of them than ever had the word "zombie" in the title). If the godfather of zombies was back, Zombies were definitely back. Edgar Wright's meta zombie comedy was a love letter to the genre, a razor-sharp deconstruction of the zombie classics, and a zombie classic in its own right. The next year, Romero released Land of the Dead in theaters, his first directorial return to zombies in three decades. Then Shaun of the Dead happened, and the genre shifted once again. At the same time, indie zombie movies started getting really good, pushing the boundaries of the conventional zombie mythology and using the narrative format to tell strange original stories. All were big-budget studio films with nationwide theatrical rollouts. First Danny Boyle's genre-evolving 28 Days Later set the stage, then came the Resident Evil adaption, and Zack Snyder's Dawn of the Dead remake. Until the new millennium hit and then, hot dog, zombie business wasn't just booming again - it was bigger than ever. The creature had become a core concept in the genre, but outside of ongoing horror sequels ( Return of the Living Dead, Zombie) low-budget fright flicks, and the occasional genre oddity ( My Boyfriend's Back, Cemetery Man and Dead Alive), the undead walked the earth no more. Then, as quickly as it exploded, the zombie went out of fashion. Filmmakers like Dan O'Bannon, Fred Dekker, and Stuart Gordon came along and toyed with the genre constructs fans of Romero's work who built off his foundation to further explore and expand what a zombie movie could be. Italian horror legend Lucio Fulci picked up the concept and ran in his own direction with it, first with Zombi 2(aka Zombie), then with his much more bizarre and experimental "Gates of Hell" trilogy. Never satisfied to repeat his previous work, Romero was always ahead of the curve, reacting to the world and cinematic landscapes around him to set new trends.Īt the same time, an entire genre sprung up around Romero's works, spanning the globe. Throughout his career, he would continue to evolve the idea of the zombie film, first with his satirical Dawn of the Dead - a colorful, playful diversion from the dire drama of NOTLD - then with the divisive and highlight political Day of the Dead, and ultimately for the rest of his career. While Romero didn't invent the zombie (as he's often credited with doing), he did redefine it and established the mold from which nearly every other zombie movie has sprung in the 50-plus years since Night of the Living Dead first arrived in theaters. That all changed when pioneering filmmaker George A. Zombies were scarcely used, and when they were, they were a pretty far cry from the cannibalistic, flesh-hungry, undead creatures we know and love today. For decades, the creatures didn't have much of a presence or definition outside Voodoo lore, radioactive humanoids, and the unforgettable art of E.C. Zombie movies have had a fascinating path to the mainstream.
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