Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan.
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 man decides to turn his moribund life around by winning back his ex-girlfriend, reconciling his relationship with his mother, and dealing with an entire community that has returned from the dead to eat the living.
A shy student trying to reach his family in Ohio, a gun-toting tough guy trying to find the last Twinkie, and a pair of sisters trying to get to an amusement park join forces to travel across a zombie-filled America.
Ana goes home to her peaceful suburban residence, but she is unpleasantly surprised the morning that follows when her husband is brutally attacked by her zombified neighbor. In the chaos of her once picturesque neighborhood, Ana flees and stumbles upon a police officer named Kenneth, along with more survivors who decide that their best chances of survival would be found in the deserted Crossroads Shopping Mall. When supplies begin running low and other trapped survivors need help, the group comes to the realization that they cannot stay put forever at the Shopping Mall, and devise a plan to escape. Written by
As pointed out on the DVD commentary, there are no mountainous islands in the Great Lakes like those shown during the closing credit sequence which is supposed to take place on Lake Michigan. See more »
[From the DVD extra "The Lost Tape: Andy's Terrifying Last Days Revealed"]
We're safe in here. Anybody wanna crash this "dinner party", they're gonna get some copper-coated candy for dessert, right? Be all right, baby.
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During the end credits, intercut with the closeup clips of zombies, there is a very brief clip similar to the infamous Paris Hilton tape, with its telltale green "nightvison" effect. See more »
Why I gave Dawn a 10 (well, maybe it should have been a9).
I've been to thousands of movies in my lifetime and own hundreds of videos and DVDs, so I am a fan but not a bona fide film critic. This is my first online review.
My wife and I saw the original Dawn of the Dead 25 years ago at a midnight show and left wired enough to talk each other down till the morning. Perhaps a quarter of a century has inured us to the violence a bit since we just watched it again (rental video) last week prior to yesterday's venture to the local multiplex to see the remake/"reimagining" and were mostly unperturbed by the revisit.
For some reason, I was hooked on the new Dawn months ago from the teaser and, subsequently, the actual trailer. The Sparklehorse song in the former fit perfectly and the suburban shot followed by killer Vivian and closing with the burned projector film of the latter was intriguing in its own way. So I was primed to see the movie, usually a recipe for disaster since preview expectations are rarely fulfilled by the finished product. This time, however, they were.
The cast was uniformly believable and, more important, empathizable (at least with the good guys who got sorted out along the way). Even the playboy jerk had several relevant lines. Polley was a good, strong female lead (with another great rebuttal -- "No, I'm a * nurse" to a query about her medical skills) and Rhames a cheerable, if reluctant, hero. The camaraderie, such as it was, worked, and visceral me-first survival gave way more often to self-sacrifice.
So, what's not to like? The fundamental premise that a classic got remade? Doesn't wash. These are two different movies with the same name and similar premises but very different attitudes. (Better special effects didn't hurt, either, although this new version was oddly less disturbing sans zombies munching on dismembered body parts.) Speedy zombies (except for the "twitchers")? No problem; hey, they're hungry and, as always, persistent. My attention was held for the better part of two hours; the story was interesting; the outcome ambivalent; the characters arisen to the task at hand, becoming coldly rational to the divisions between life and death and zombiedom; the music weirdly appropriate; the black humor welcome respite. No, Dawn of the Dead isn't Citizen Kane nor is it a sacrilegious assault on the horror genre. It's solid filmmaking that's entertaining and thought-provoking. Otherwise, I suspect Romero would never have put his imprimatur on the remake.
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