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.
Having recently witnessed the horrific results of a top secret project to bring the dead back to life, a distraught youth performs the operation on his girlfriend after she's killed in a motorcycle accident.
James T. Callahan,
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.
When a bumbling pair of employees at a medical supply warehouse accidentally release a deadly gas into the air, the vapors cause the dead to re-animate as they go on a rampage through Louisville, Kentucky seeking their favorite food, brains.Written by
Todd A. Bobenrieth <TAB146@PSUVM.EDU>
Beverly Randolph, ended up marrying the film's assistant art director. See more »
When they open the basement door and the Tarman comes out, you can see smears on the wall and door where his arms have slid. When the group go into the basement afterward, there are no smears on the wall near the door. See more »
The following phony disclaimer precedes the movie: "The events portrayed in this film are all true. The names are real names of real people and real organizations." See more »
The edited-for-TV Version cuts out all nudity, gore, swears and curses and (some delete anything like "God damn", but others go even further by deleting "Jesus Christ" or any other name-in-vain type of stuff). Some of the scenes are changed around, slightly. For instance, the part where Casey (Jewel Shepard) say to Chuck (John Philbin): "Oh great here's your friend and mine!" Suicides reply "Hey F**k you, ball-buster!" is changed to "I mean I got somethin' to say, ya know!". See more »
I love this film to living death ... Every actor got the right part, and they all got the part right. High camp, higher parody, positively hilarious scenes so well set up that a mere facial gesture delivers the punchline, sometimes only a few beats of music delivers. In the midst of all this ripping off of Romero's "Night of the Living Dead", it borders on worship of its inspiration. Pathos holds hands with hilarity, genuinely creepy scenes bleed into high gear humor. I haven't found a misstep. There is a high quotient of "Oh s**t" scenes and they all work. The undraped Quigley is neither gratuitous or prurient; just imagine the movie without her character; loses much. This is a delicious, feverish living dead romp that plays out to one crackerjack musical score. Everything meshes, everything works. How do you fault a film that gets it all right? This title will survive a long long time.
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