A group of scientists have developed the Resonator, a machine which allows whoever is within range to see beyond normal perceptible reality. But when the experiment succeeds, they are immediately attacked by terrible life forms.
A cop chases two hippies suspected of a series of Manson family-like murders; unbeknownst to him, the real culprits are the living dead, brought to life with a thirst for human flesh by chemical pesticides being used by area farmers.
A man tries to uncover an unconventional psychologist's therapy techniques on his institutionalized wife, while a series of brutal attacks committed by a brood of mutant children coincides with the husband's investigation.
The residents of a suburban high-rise apartment building are being infected by a strain of parasites that turn them into mindless, sex-crazed fiends out to infect others by the slightest sexual contact.
Dr. Warren Chapin is a pathologist who regularly conducts autopsies on executed prisoners at the State prison. He has a theory that fear is the result of a creature that inhabits all of us.... See full summary »
Zombies rule the world, except for a small group of scientists and military personnel who reside in an underground bunker in Florida. The scientists are using the undead in gruesome experiments; much to the chagrin of the military. Finally the military finds that their men have been used in the scientists' experiments, and banish the scientists to the caves that house the Living Dead. Unfortunately, the zombies from above ground have made their way into the bunker. Written by
Matt Puskas <email@example.com>
When Sarah, John and McDermott gun down the zombies in the corral the last one reveals the cable to detonate the explosive squibs running up his trouser leg as he falls. See more »
Nothing, nothing at all.
I've been sending up and down the coast from Sarasota to the Everglades and still getting back the same dead air. There's nothing! There's nobody or at least nobody with a radio.
All right then let's set down, we'll use the bullhorn.
Set down? Wait a minute, that's not in our contract!
It's the biggest city within 150 miles and we're going to give it every chance.
Jesus, Mary and Joseph!
Set down, John!
I'll set us down. But I won't leave my ...
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I saw DAY OF THE DEAD at a drive-in; the second half of the double bill was DAWN OF THE DEAD (which I'd seen a dozen times by then, most often at midnight showings). I was stunned. DAY OF THE DEAD was as tight and as dramatic and as frightening as anything I'd ever seen. Although I'd championed Romero's movies in the pages of magazines like Famous Monsters of Filmland, Fantastic Films and Fangoria for years, I was totally blown away by the savvy evinced in DAY OF THE DEAD. No more of the tell-tale amateurishness of a "regional filmmaker," no more overindulgence: this is Romero at his very best, and a great movie by any standards. For critics who espouse the virtues of DAWN OF THE DEAD over DAY OF THE DEAD, take this simple test: watch them back to back, as I did the night DAY OF THE DEAD opened. If you're still not convinced, you may be a zombie yourself...
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