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Official Land Of The Dead Thread
- Thread starter Tedesco!
- Start date
- Status
Tedesco! said:Why wait? There's been a Batman one for almost 2 weeks now! Fuck that! I wanna talk LOTD now!
Batman topic has been up for a week, and while I love Romero, Batman is a different monster. We've got more to talk about, simply because there's more crap out there.
Hopefully, this topic won't get lost in the shuffle because Romero rocks!
themadcowtipper
Smells faintly of rancid stilton.
I love Romero as much as the next guy, but two weeks who knows how buried this thread will be by then...Oh well someone will post a new thread then the golden Welcome to two weeks ago post will start...
Litigation Manuel
Member
Well, unfortunately, all the zombies turned out to be gay cowboys eating pudding. It was okay when they're alive, but being dead and alive is just too much. Yeah, I was shocked when I found out every zombie in LotD was a gay cowboy eating pudding, too.Tedesco! said:
themadcowtipper
Smells faintly of rancid stilton.
You Know how many Gay, Pudding, eating cowboy, Zombie this thread is going to offened...
themadcowtipper
Smells faintly of rancid stilton.
Yes it does....True Story....Willco said:
Litigation Manuel
Member
As a preliminary measure, I think that until the release date of the movie comes close enough to warrant a discussion, we should turn this thread into tribute to gay zombie cowboys eating pudding. First: a display of pudding to arouse their gay, cow wrastling, dead, appetites.themadcowtipper said:
There is a new game on the website for those who feel the desire to shoot up some zombies!
http://www.landofthedeadmovie.net/htdocs/loot_game/index.html
http://www.landofthedeadmovie.net/htdocs/loot_game/index.html
ToyMachine228
Member
Tedesco! said:
Go buy Resident Evil 4. Anyway, Land of the Dead comes out the 24th right? The day of my graduation...So I guess I won't see it opening day.
Litigation Manuel
Member
This Saturday I will be watching Dawn of the Dead, Day of the Dead, and hopefully Night of the Living Dead in preparation for this. My testicles are literally sweating in anticipation (or because my pants are hot).
Justin Bailey
------ ------
Are you sure those are Zombies? What if they didn't die first? I just wanna be sure cause I don't wanna play an "infected" game.Tedesco! said:
Tedesco! said:
Eh, I don't think it's a triology that needs to really be watched "in order". Dawn and Day are pretty similar in story, but Dawn's the far surperior movie. I'd want to walk into Land of the Dead having witnessed Romero at his greatest.
Litigation Manuel
Member
So, should we watch them in order, or Dawn for last, or what? What order? Also, what Dawn should we watch? We have the rerelease (though we've seen that enough), the US theatrical release, extended version or the european version (last three came with "ultimate" edition)?
Coin Return
Loose Slot
I think the European version is the best. Added scenes and more gore = teh awesome.
Edit: Simon Pegg! He sorta looks like Bub...
http://www.cokey.co.uk/images/pegg.jpg
Edit: Simon Pegg! He sorta looks like Bub...
http://www.cokey.co.uk/images/pegg.jpg
VistraNorrez
Member
Euro has alternate takes and such, which equals to more gore. It is faster paced and has less humor in it. There is also more Goblin in it. It's my least favorite of the cuts. Goblin is just too overused. Plus I thought the music during the hick scene missed the point. It took them seriously, where as Romero was clearly poking fun at them.
The extened version is pretty good, but it is too long.
The theatrical cut is definitely the best. It's got a great pace and is plenty of fun.
If you are going to watch them all, watch them in order. Don't listen to the others. Watching them in order makes the most sense. Who gives a shit about going out with a bang? Fuck that. It is very interesting seeing how the series progresses and what each decade was like. Romero really nailed it. Plus watching them in order will really set Land up well. Plus Day has a few references to Dawn that you might not pick up otherwise.
The extened version is pretty good, but it is too long.
The theatrical cut is definitely the best. It's got a great pace and is plenty of fun.
If you are going to watch them all, watch them in order. Don't listen to the others. Watching them in order makes the most sense. Who gives a shit about going out with a bang? Fuck that. It is very interesting seeing how the series progresses and what each decade was like. Romero really nailed it. Plus watching them in order will really set Land up well. Plus Day has a few references to Dawn that you might not pick up otherwise.
I don't think it resembles any of the scripts, other than it's humans vs. zombies. But if I had to pick, I would say Dawn, if only because of the false sense of security that the survivors have. I really liked what I read, and from what I read I think the film has potential to be real good. I am fully expecting to see some good gore in this film.
Coin Return
Loose Slot
Variety Magazine review:
(minor plot spoilers)
By JUSTIN CHANG
'Land of the Dead'
Asia Argento and Simon Baker find themselves at war with humans and zombies in ''George A Romero's Land of the Dead.''
George A. Romero shows 'em how it's done in "Land of the Dead," resurrecting his legendary franchise with top-flight visuals, terrific genre smarts and tantalizing layers of implication. Nerve-shredding fourth installment may not fully reclaim the visceral or satirical impact of the writer-director's 1978 masterpiece "Dawn of the Dead," but it's still a satisfyingly splattery feast of guts and ideas. Though Universal isn't flogging it half as aggressively as last year's "Dawn" remake, pic should grope its way to killer B.O. with no small help from Romero cultists, whose devotion will be nothing short of zombielike.
The horror maestro has come a long way since the third film in the cycle, 1985's "Day of the Dead," and an even longer way since his seminal 1968 classic "Night of the Living Dead." This time around, Romero is playing with bigger stars and a higher (though still modest) budget of about $15 million, as well as a new shooting location (Toronto, instead of his native Pittsburgh).
That said, "Land" is a tour de force of not only independent filmmaking but independent thinking, rigorously worked out on all craft and technical levels yet enlivened by its twisted engagement with the real world.
Romero's apocalyptic vision of an earth beset by endlessly self-perpetuating flesh-eaters remains as relevant and resonant as ever, and this time he's even injected some not-so-subtle political invective into the proceedings. At one point Kaufman, a corrupt, gray-haired city official, declares, "We don't negotiate with terrorists," making this the second actioner in recent months, after "Star Wars: Episode III -- Revenge of the Sith," to lob a grenade in the direction of the White House.
The city in question is one of humankind's last remaining holdouts, an island metropolis surrounded by water and electric fences that keep out the walking undead. Perched in a high tower that dominates the skyline, Kaufman (Dennis Hopper, his brow furrowed with self-entitlement) owns everything and everyone in the exclusive community of Fiddler's Green, advertised as the place "where life goes on," and where upper-class citizens are admitted only via waiting list. Those still outside on the streets, meanwhile, are in the early stages of revolution.
Cholo, one of several soldiers sent out on rescue missions to bring back food and supplies, sets things in motion when Kaufman refuses to let him move into Fiddler's Green. The disgruntled mercenary (a hot-headed John Leguizamo) promptly hijacks Dead Reckoning, an armored military vehicle that holds enough firepower to bomb out the city, which he threatens to do unless Kaufman meets his demands.
In response, Kaufman commissions Cholo's superior Riley (Simon Baker) to recover the stolen tank, accompanied by sharpshooter sidekick Charlie (Robert Joy) and gold-hearted hooker Slack (Asia Argento, putting a tough-talking spin on a familiar role).
Tension between Riley and Cholo, effectively fleshed out by Baker and especially Leguizamo, reps only one of the story's intriguing contrasts. Both guys want out of a nightmare situation, but where Riley hopes to start over away from civilization, social-climbing Cholo wants to retreat inside, into the ranks of the city's elite.
Romero clearly has a lot on his mind, working through issues of class, segregation, individualism and personal responsibility. As always, the scenario eerily and amusingly mirrors the times: Astute viewers will laugh at how the undead phenomenon has already become commercial fodder in the form of theme-park-style attractions and bloodsports. More chillingly, the gleaming facade of Fiddler's Green implies an entire nation struggling and failing to lead normal lives in a war zone, turning against itself in the process.
Most suggestive of all are the zombies themselves, who have become frighteningly resourceful and smart, having learned to communicate as well as use tools and weapons. Unlike the trendy, fast-moving denizens of the recent "Dawn" redux and "28 Days Later," Romero's walkers still shamble along slowly, yet with an increasingly purposeful gait that makes them seem all the more human. They also look more realistically undead than ever, thanks to pic's ace makeup team (led by Greg Nicotero) and special contact lenses that lend their eyes a bluish, otherworldly glaze.
Pic's ideas about continual evolution and advancement extend equally to the carnage, which for most auds will be "Land's" ultimate test. And Romero rises to the occasion with a mastery, discipline and gleeful sense of invention that shows just how far a slim budget can go given the right sensibility. Fans of the trademark spewing, sausage-like intestines will be quite appeased; few will be prepared for the semi-decapitated zombie (emphasis on semi) or the ugly disadvantages of having a pierced navel (you've been warned).
Romero has a way of at once honoring and updating modern horror-pic conventions, relying more here on shock cuts (with super-sharp editing by Michael Doherty) and surprise zombie ambushes than the queasy claustrophobia that pervaded "Night" and "Dawn." The upshot, happily, is a similarly blissful sense of unease.
Miroslaw Baszak's nuanced lensing, finding endless varieties in a predominantly gray palette, accentuates Arvinder Grewal's chilly production design at every turn. Reinhold Heil and Johnny Klimek's score is serviceably grim, with repeated patterns that evoke the restless walk of the damned.
(minor plot spoilers)
By JUSTIN CHANG
'Land of the Dead'
Asia Argento and Simon Baker find themselves at war with humans and zombies in ''George A Romero's Land of the Dead.''
George A. Romero shows 'em how it's done in "Land of the Dead," resurrecting his legendary franchise with top-flight visuals, terrific genre smarts and tantalizing layers of implication. Nerve-shredding fourth installment may not fully reclaim the visceral or satirical impact of the writer-director's 1978 masterpiece "Dawn of the Dead," but it's still a satisfyingly splattery feast of guts and ideas. Though Universal isn't flogging it half as aggressively as last year's "Dawn" remake, pic should grope its way to killer B.O. with no small help from Romero cultists, whose devotion will be nothing short of zombielike.
The horror maestro has come a long way since the third film in the cycle, 1985's "Day of the Dead," and an even longer way since his seminal 1968 classic "Night of the Living Dead." This time around, Romero is playing with bigger stars and a higher (though still modest) budget of about $15 million, as well as a new shooting location (Toronto, instead of his native Pittsburgh).
That said, "Land" is a tour de force of not only independent filmmaking but independent thinking, rigorously worked out on all craft and technical levels yet enlivened by its twisted engagement with the real world.
Romero's apocalyptic vision of an earth beset by endlessly self-perpetuating flesh-eaters remains as relevant and resonant as ever, and this time he's even injected some not-so-subtle political invective into the proceedings. At one point Kaufman, a corrupt, gray-haired city official, declares, "We don't negotiate with terrorists," making this the second actioner in recent months, after "Star Wars: Episode III -- Revenge of the Sith," to lob a grenade in the direction of the White House.
The city in question is one of humankind's last remaining holdouts, an island metropolis surrounded by water and electric fences that keep out the walking undead. Perched in a high tower that dominates the skyline, Kaufman (Dennis Hopper, his brow furrowed with self-entitlement) owns everything and everyone in the exclusive community of Fiddler's Green, advertised as the place "where life goes on," and where upper-class citizens are admitted only via waiting list. Those still outside on the streets, meanwhile, are in the early stages of revolution.
Cholo, one of several soldiers sent out on rescue missions to bring back food and supplies, sets things in motion when Kaufman refuses to let him move into Fiddler's Green. The disgruntled mercenary (a hot-headed John Leguizamo) promptly hijacks Dead Reckoning, an armored military vehicle that holds enough firepower to bomb out the city, which he threatens to do unless Kaufman meets his demands.
In response, Kaufman commissions Cholo's superior Riley (Simon Baker) to recover the stolen tank, accompanied by sharpshooter sidekick Charlie (Robert Joy) and gold-hearted hooker Slack (Asia Argento, putting a tough-talking spin on a familiar role).
Tension between Riley and Cholo, effectively fleshed out by Baker and especially Leguizamo, reps only one of the story's intriguing contrasts. Both guys want out of a nightmare situation, but where Riley hopes to start over away from civilization, social-climbing Cholo wants to retreat inside, into the ranks of the city's elite.
Romero clearly has a lot on his mind, working through issues of class, segregation, individualism and personal responsibility. As always, the scenario eerily and amusingly mirrors the times: Astute viewers will laugh at how the undead phenomenon has already become commercial fodder in the form of theme-park-style attractions and bloodsports. More chillingly, the gleaming facade of Fiddler's Green implies an entire nation struggling and failing to lead normal lives in a war zone, turning against itself in the process.
Most suggestive of all are the zombies themselves, who have become frighteningly resourceful and smart, having learned to communicate as well as use tools and weapons. Unlike the trendy, fast-moving denizens of the recent "Dawn" redux and "28 Days Later," Romero's walkers still shamble along slowly, yet with an increasingly purposeful gait that makes them seem all the more human. They also look more realistically undead than ever, thanks to pic's ace makeup team (led by Greg Nicotero) and special contact lenses that lend their eyes a bluish, otherworldly glaze.
Pic's ideas about continual evolution and advancement extend equally to the carnage, which for most auds will be "Land's" ultimate test. And Romero rises to the occasion with a mastery, discipline and gleeful sense of invention that shows just how far a slim budget can go given the right sensibility. Fans of the trademark spewing, sausage-like intestines will be quite appeased; few will be prepared for the semi-decapitated zombie (emphasis on semi) or the ugly disadvantages of having a pierced navel (you've been warned).
Romero has a way of at once honoring and updating modern horror-pic conventions, relying more here on shock cuts (with super-sharp editing by Michael Doherty) and surprise zombie ambushes than the queasy claustrophobia that pervaded "Night" and "Dawn." The upshot, happily, is a similarly blissful sense of unease.
Miroslaw Baszak's nuanced lensing, finding endless varieties in a predominantly gray palette, accentuates Arvinder Grewal's chilly production design at every turn. Reinhold Heil and Johnny Klimek's score is serviceably grim, with repeated patterns that evoke the restless walk of the damned.
FeedMeAStrayCat
Member
I'm going to see this movie once it hits the 2 dollar theater around here..
VistraNorrez
Member
Uh-oh? About what exactly? I don't even think Dawn had a queasy claustrophobia. They were in a huge mall, nothing claustrophbic about that. The past two in the dead trilogy were not very scary, and anytime they were it was because the zombies were creepy, and because of, that's right, jump surprise cuts.
"But those familiar with Romero's work know that doesn't mean they're in for a Michael Moore diatribe. The horror show is still the main attraction, and "Land of the Dead" delivers the goods in harrowing, visceral heaps."
It's important to note, before people start railing against Romero for his "leftist leanings" and calling the film "anti-Bush", that this script was written well before the attacks of 9/11.
It's important to note, before people start railing against Romero for his "leftist leanings" and calling the film "anti-Bush", that this script was written well before the attacks of 9/11.
http://forums.somethingawful.com/showthread.php?s=&threadid=1594990
Liquorhead over at SA saw it, and this is his review.
'bout all I can say.
Liquorhead over at SA saw it, and this is his review.
'bout all I can say.
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