A medieval reenactment troupe find it increasingly difficult to keep their family-like group together, with pressure from local law enforcement, interest from entertainment agents and a growing sense of delusion from their leader.
Two horror tales based on short stories by Edgar Allan Poe directed by two famous horror directors, George A. Romero and Dario Argento. A greedy wife kills her husband, but not completely. A sleazy reporter adopts a strange black cat.
Following an ever-growing epidemic of zombies that have risen from the dead, two Philadelphia S.W.A.T. team members, a traffic reporter, and his television executive girlfriend seek refuge in a secluded shopping mall.
A biological weapon gone awry is only the start of problems in the little town of Evan's City, Pennsylvania. Bouts of insanity in the populace are leading to murder and rioting, until the US Army turns up - and things really start going to hell. Written by
David Carroll <firstname.lastname@example.org>
According to George A. Romero the only problem that ever came up with the people of Evans City, where the film was being shot, was about the filming of the final scene. In the conclusion Col. Peckem has to strip down and change clothes before being lifted off by the helicopter. Some of the locals saw the scene as it was being shot and took offense to the sight of a nude man outside. Romero said lawyers had to be called in to resolve the issue. See more »
When the government suits are arguing about getting a member of the Trixie team into into the town one of them demands that a plane be sent and waiting at Fort Detrick to pick up the first one to arrive. However Fort Detrick is only equipped with landing pads for helicopters. There is no on site runway so a plane landing or taking off from the actual base would impossible. See more »
You've known about this for days!
We never thought it would happen like this.
But you notified me. You must have suspected.
Notifying you was precautionary. We never thought it was possible.
That doesn't matter now. We've got to call the hospital in Unity. We need an ambulance for those two kids!
I'm afraid I can't allow that. We're bringing in our own medical personnel with medical equipment.
But this isn't the sort of thing that you consider sweeping under the rug or...
Look, we've ...
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Aside from Dawn of the Dead, I feel that this little seen film is one of Romero's strongest vehicles. Indeed the two films have a great deal in common in terms of pacing, style and overall visual impact. It throws the viewer into the middle of a story with little introduction, and continues at a breakneck pace right until it's bleak conclusion. The wonderful thing about Romero's works is that he manages to take situations that might just be distantly possible and make them an absolute chaotic reality. This film is a testament to that, and may even stand as one of his more realistic and plausible stories. Performances on the part of almost all of the actors are very good, particularly the main group of focus. There are some awkward moments with David, but Judy is very good, and proves herself particularly in her final scenes. Clank is interesting to watch, and does a very good job of descending into a dangerous and confused haze. Richard Liberty's Artie is a favorite, though, due largely to a scene where he tells why he never allowed his daughter to date. He is truly creepy. Those on the military side are also very good, particularly Major Rider and Colonel Peckam. I must admit that I do have a soft spot in my heart for Richard France as Dr. Watts. He rants and relentlessly chews the scenery in a grand performance, and adds a wonderful dash of color and even more insanity to this bleak film. Romero is always interesting in his use of characters, and this film is no exception. He is constantly pushing the envelope of audience expectations by having major characters die or succumb to the madness. Nothing is safe in a Romero movie. His use of the soldiers is wonderful in the frenzied and gritty military and chase scenes. This film as a whole is gritty, unnerving and a perfect stylistic precursor to Dawn of the Dead. One of the better scare pictures of the 70s.
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