8 items from 2017
With the Train to Busan (2017) bursting on the screens and the announcement of an inevitable ‘American Remake’, I thought it would be a good time to look back on some of the classic zombie films from around the world.
Night of The Living Dead (1968)
There is often a debate about which of George A. Romero’s Living Dead series is his best. Personally, I am a night person and I love the film which started it all. Self-funded and filmed over a year, Night of the Living Dead was shot on black and white 35mm under the original title Night of the Flesh Eaters. Ground breaking at the time, this not only created the first zombie movie, but also broke taboos by having a black male lead.
Zombies have evolved over the years, become faster, smarter and more violent to satisfy the needs of the audience. However, people still continue »
- Philip Rogers
You’ve heard about it! You’ve read about it! Now Finally Zombie #4 Is Almost Here! Order It Tonight At 7Pm Pt/10 Pm Et! Eibon Press presents the epic Fourth Issue in our adaptation of Lucio Fulci’s classic horror film Zombie, and… Continue Reading →
- Stephen Romano
Originally conceived to leech off the success of George A. Romero’s Dawn of the Dead, Lucio Fulci’s bloodthirsty Zombie Flesh Eaters (also known as Zombie or Zombi 2) has often been considered the apex of the zombie genre. Released in 1979, this gory and grotesque Italian video nasty pushed the limits with iconic scenes of violence and unrestrained horror. Often found at the right hand of Fulci, composer Fabio Frizzi’s carefully constructed Caribbean nightmare score is a decomposing mixture of synth soundscapes and voodoo drums that attack the ears with the same menace as one of Fulci’s living dead. As the debut release for their founding label, Death Waltz Recording Company shrewdly enlisted one of horror’s most respected graphic artists, Graham Humphreys, to flesh out a cover design for the 2012 vinyl reissue and help bring Frizzi’s frightening soundtrack back to life.
Explaining how he got involved with the project, »
- Sam Hart
Lucio Fulci is known to most horror fans for his work in the fantastical, through his late career success with Zombie (1979), City of The Living Dead (1980), and The Beyond (1981). Certainly these are his most widely seen and cherished films, and for good reason – they blast through the screen in a feast of color, magic, and grue; short on logic, sure, but long on imagination and dread. But before he untethered his heart in a quest for purity, he engaged in his homeland’s horror sub-genre of giallo, including Don’t Torture a Duckling (1972), incredible, subversive proof that he could create something just as effective and decidedly much more earth bound.
Released late September back home in his native Italy, Duckling never received its due (or much attention at all, truthfully) on these shores until Fulci’s death in 1996 offered a re-evaluation of his body of work. Thanks to the internet, »
- Scott Drebit
Apr 28, 2017
So, what’s your personal idea of hell? For this writer, it would almost certainly involve being chained down in the audience of an eternal live filming of Loose Women as Donald Trump waves a slice of tiger bread, forever just out of reach. Yours is likely to be similar, though it would have to be pretty grim indeed to come anywhere near Lucio Fulci’s 1981 career-best infernal vision and perhaps the definitive (obviously other than Little Nicky) cinematic depiction of eternal damnation, The Beyond.
The debut of last year’s comic series based on the classic Lucio Fulci film Zombie rocked our fucking worlds, and Eibon Press has quickly become a force to be reckoned with in the indie publishing arena. Producing extremely high-quality comics in very… Continue Reading →
The post Eibon Press Presents Lucio Fulci’s Gates of Hell Trilogy in Comic Form on February 10! appeared first on Dread Central. »
- Steve Barton
There are certain horror films you just love. Weird, offbeat, horrible puzzle boxes that, by all rights, have no logical reason to exist, and yet there they are. And then, there’s Beyond the Door (1974), an Italian / American co-produced quasi-Exorcist treatise that burns down that particular sacred house, stomps on the ashes, and pisses on the embers before speeding off in its Ferrari. If you found The Exorcist too restrained, we may have just become best friends.
Beyond the Door is also known as Chi Sei?, Who Are You?, Behind the Door, The Devil Within Her (not to be confused with the Joan Collins vs. satanic little person shocker) and various other titles it was given in an effort, I’m assuming, to avoid Warner Brothers’ legal department (they can’t catch us if they can’t find us!). Back then, Warner Bros. was on the hunt for any horror »
- Scott Drebit
Few filmmakers have accomplished what Lucio Fulci has by turning gorefest pulp into a demented form of art. For the uninitiated, it may be impossible to get past the incomprehensible dubbing, inhuman acting, and nonexistent plots in some of Fulci’s films. Once used to these elements, though, one can see the way his films feel like nightmares, a series of impressionistic images that inspire dread. While I won’t claim that Fulci’s films are high art, I can perceive something important going on beneath the smears of gore. He has more on his mind than creative kills.
In two of Fulci’s films, The Beyond and City of the Living Dead, there are direct references to Clark Ashton Smith, the author who helped create the fantasy and science fiction genres. Smith was a friend of H.P. Lovecraft, and created a cosmic mythos of his own, with inventions like »
- Ben Larned
8 items from 2017
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