The storyline has been re-tooled to offer an experimental and contemporary revision of the 1968 original - much like a DJ remix. Slated to generate royalties for the Night of the Living ... See full summary »
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.
In 1987 serial murderer and rapist Abbot Hayes disappeared from the morgue. Shortly afterwards, a zombie plague swept his hometown and many lost their lives in the ensuing battle. Now, ... See full summary »
A trio of road-trippers stumble into a no-win scenario with the living dead. Set as a gaiden/homage to the original Night of the Living Dead, where the familiar becomes the un-familiar. ... See full summary »
Orris L. Johnson,
The storyline has been re-tooled to offer an experimental and contemporary revision of the 1968 original - much like a DJ remix. Slated to generate royalties for the Night of the Living Dead "survivor's" who are responsible for the creation of the 1968 film. Benefit for the Living Dead (aka the Survivor's Cut) is largely misunderstood by Romero fans. This release was designed to utilize the services of benevolent organizations to help administer royalties to the 'surviving' parties who elect to receive dividends. Written by
MediaPool and Dean Lachiusa
Non-commercial release, misunderstood but magazines loved it.
The "Survivors Cut" aka Benefit for the Living Dead was favorably reviewed by Cinescape, Dread Central, Creature Corner, MoviesOnline and websites globally.
I worked with the remix-artist Lachiusa, and his intent was only to demonstrate his editing abilities. Tom Savini enjoyed the remix.
The 72 minute Survivor's Cut was never meant to challenge the Romero work, rather it augments the original by providing a contemporary re-imagination.
It was offered for free by Prelinger's Archive website and over 3,000 copies were downloaded in a few weeks. The film was removed (May 2005) because the Archive audience asked for a higher resolution version and something other than a Real Media file. Lachiusa asked Romero's agent and then later writer John Russo to pick up the task of re-mastering and distribution, but this never happened.
To this date: Lachiusa's "Neo-Cine" remastering features more saturated colors and highlights digital-dolly-moves and new camera angles, but this version has never been distributed.
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