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.
The zombie apocalypse has hit Earth. Two personnel from a TV station and two policemen set off in a helicopter to find a safe place to hide out. Their search leads them to a shopping mall where they manage to find a place that, while not zombie-free, is quite secure. So far, so good.Written by
The scene between Roger and Peter in the trucks when they are kidding each other about their height as (Scott H. Reinger is 5'7 and Ken Foree is 6'5) was entirely improvised by the two actors. See more »
When Roger runs out of a truck and back toward the mall, one
particular zombie in a red-and-black striped shirt gets out of character and decides to tuck in his shirt. See more »
George A. Romero appears on screen as a TV Station Director (the bearded man wearing a scarf and a blue shirt) as his name appears, listing him as "Editor", in the on-screen credits beneath him. See more »
The film underwent fifteen months of censorship haggling in Australia (both the Argento and Romero cuts were banned for a time), before being passed with an R18+ certificate in February 1980. Already pre-cut by four minutes, the Romero version required the removal of a further two minutes before being approved with a 120 minute runtime. The cut scenes were:
The exploding head in the apartment.
The basement zombies enthusiastically ripping into flesh.
The helicopter zombie getting the top of his head lopped off.
Tom Savini burying a machete in a zombie's head after saying "Say goodbye, creep!".
"Flyboy" being attacked and bitten in the elevator.
Composed by Herbert Chappell
Published by De Wolfe Music Ltd.
Mall Montage Scene See more »
Still my favorite horror film...
When you want brutal, look no further, but when you also want to see perhaps the greatest of all comic-book movies not based on a comic-book, it's in George Romero's original take on his continuing mythology. It's not just one of the towering horror films, or horror comedies (what will a poor dead fellow do when the escalator starts?!) but one of the great sequels, more ambitious and ass-kicking than its predecessor, with a filmmaker more confident and technically proficient with his abilities.
Romero didn't originally want to do *any* sequel to his original 'Night', but after a visit by some friends to a soon-to-open mall nearby his hometown of Pittsburgh, it struck a chord as to who would be coming here – and what so much consumerism in one place would mean. "Why do they come here?" one of the four survivors that happens upon this mall swarming with these flesh-eaters asks another. "This meant something to them. Instinct, maybe. This was an important part of their lives," he responds.
I don't think necessarily Romero meant to show the film as any sort of 'This is what will happen!" type of social horror thing. It's more about, this is where we are at NOW, and in that sense, though broader and a whole LOT bloodier, it holds a place right next to a film like Network as one of the magnificent satires of its time and place, and as much about what the public is like. Romero acts as both pessimist and optimist in this world though; past all the chopped limbs, exploding heads (oh yeah!), Tom Savini stunt and make-up and intestines ripped apart, what holds up the film for me is seeing these four characters come to grip with the horror they've made for themselves, holding up in this "paradise" of a mall.
Balls-to-the-wall horror, social horror, and some genuine paranoid horror stuff (note to self, never try and fire a gun at a single zombie when in a dark room full of electrical wiring and pipes), and plenty of rock and roll attitude, this is a personal favorite and the most entertaining horror film of its time. And the Goblin music soundtrack yummy.
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