Directed and written by Thomas J. Churchill, Amityville Uprising is the story of an explosion at a military base, acid rain and zombies being created as a result, all of which are endured by police officers Dash (Scott C. Roe), Howie (Tank Jones), Nina (Kelly Lynn Reiter) Lance (Mike Ferguson) and Malloy (Troy Fromin). There's also Dash's son Jimmy (Kole Benfield), infamous criminal Joe Gallo (Micah Fitzgerald) and the news crew there to interview him.
Churchill also made The Amityville Moon and Amityville Harvest, making this the third Amityville movie that Churchill has made for Lionsgate, which kind of shocks me that they'd get into the Amityville game. Yet here we are, a third movie that has little to nothing to do with the Amityville house and is instead set there. There's only one moment, when a prescription bottle has the 112 Ocean Avenue address on it, that has a reference to the original film.
This is very Assault on Precinct 13 but nowhere near the magic of Carpenter's film. But that's the idea. And you know, it's almost shot too well for an Amityville film, having some actual quality and color balancing, things I don't expect from this subgenre.
What it doesn't have is the bizarre ideas that so many of the lower budget Amityville movies do have, instead being content to make a cops versus zombies film with cut in news footage that goes from bad to worse, so fake by comparison that it breaks the narrative. The blast that starts all of this also looks quite poor in contrast to the good special effects for the undead segments, as if there are parts of this movie at war with one another.
The first half of this is more about the breakfast orders of a bunch of cops, which I kind of admire, as there's so much effort given to the ordering and delivery of a series of sandwiches and breakfast foods. I wish I had some breakfast right now thinking of this film, which is something I have never said about any other Amityville movie.
This does mention events from the other two movies, so I appreciate that there's a goal of creating a shared universe. I want this so badly. I want someone to connect the Amityville stories in space, in the hood, with clowns and theaters.
Churchill also made The Amityville Moon and Amityville Harvest, making this the third Amityville movie that Churchill has made for Lionsgate, which kind of shocks me that they'd get into the Amityville game. Yet here we are, a third movie that has little to nothing to do with the Amityville house and is instead set there. There's only one moment, when a prescription bottle has the 112 Ocean Avenue address on it, that has a reference to the original film.
This is very Assault on Precinct 13 but nowhere near the magic of Carpenter's film. But that's the idea. And you know, it's almost shot too well for an Amityville film, having some actual quality and color balancing, things I don't expect from this subgenre.
What it doesn't have is the bizarre ideas that so many of the lower budget Amityville movies do have, instead being content to make a cops versus zombies film with cut in news footage that goes from bad to worse, so fake by comparison that it breaks the narrative. The blast that starts all of this also looks quite poor in contrast to the good special effects for the undead segments, as if there are parts of this movie at war with one another.
The first half of this is more about the breakfast orders of a bunch of cops, which I kind of admire, as there's so much effort given to the ordering and delivery of a series of sandwiches and breakfast foods. I wish I had some breakfast right now thinking of this film, which is something I have never said about any other Amityville movie.
This does mention events from the other two movies, so I appreciate that there's a goal of creating a shared universe. I want this so badly. I want someone to connect the Amityville stories in space, in the hood, with clowns and theaters.