Universal Studios | 1982 | 109 min | Rated R | Region free
| Sep 30, 2008
The stage is set for havoc and terror when a twelve-man research team stationed in Antarctica finds an alien
being that has fallen from the sky and has been buried for over 100,000 years.
Unrated Director's Cut
Universal Studios | 2004 | 110 min | Unrated | Region free
| Sep 30, 2008
A re-envisioning of George Romero's apocalyptic horror classic. An unexplained plague has decimated the world's population--and yet, the dead aren't dying. They've
become zombies, stalking endlessly in a quest to feed on the...
Unrated Director's Cut
Universal Studios | 2005 | 97 min | Unrated | Region free
| Sep 30, 2008
In a modern-day world where the walking dead roam an uninhabited wasteland, the living try
to lead "normal" lives behind the walls of a fortified city. A new society has been built by a
handful of ruthless opportunists, who...
New brides are often given the task of completing the tradition of incorporating into their wedding
day attire "something old, something new, something borrowed, and something blue." This 3-pack
of Horror films from Universal would fit the bill nicely. John Carpenter's The Thing is the
"something old," at least in relation to the other films in this set. The acclaimed director's 1982
seminal gore-fest incorporates gallons of blood but wraps the violence in a shell made of superb
direction, excellent acting, and a thrilling and thought-provoking story. "Something new" may be
found in Zombie maestro George Romero's fourth Dead picture, Land of the Dead.
The first to feature several name actors, the film is a fast-paced and intelligently-scripted movie that
features the logical progression of the director's previous trio of Zombie films, this one both adding
to the lore of the crisis as well as further developing the burgeoning skills of the clumsy and hungry
undead. Dawn of the Dead represents "something borrowed," the film a remake of
Romero's classic 1978 picture of the same name that is the standard-bearer of all things Zombie,
not to mention a classic in the world of cinema-as-social-commentary. As for "something blue,"
well, that one should be obvious.
Kurt Russell doesn't take kindly to people rearranging his Blu-ray collection.
The Thing Rating: 5/5
A Norwegian chopper circles the perimeter of United States National Science Institute, station 4,
a remote scientific outpost deep in the Arctic. For reasons unknown, a gunman inside the
chopper fires a rifle at a
dog. The engagement ends with the chopper down and the two-man crew killed. The confused
American research team takes in the seemingly harmless dog, and several of the group, including
R.J. "Mac"
MacReady (Kurt Russell, Stargate), take their
own chopper to the Norwegian outpost in hopes of discovering what drove the Norwegians to
hunt the dog
in such an aggressive manner that ultimately cost them their lives. There, amidst the
smoldering remains of the station, they find the remnants of some "thing." Taking it back to
station 4, the facility's medical examiner, Dr. Blair (Wilford Brimley, The Natural), finds
inside of it normal human organs, but the "thing's" external appearance is anything but, a bloody
jumble of limbs, torsos, and faces melded together as one. Soon after, the team discovers a
deadly creature in their midst, one that can absorb and imitate any life form it so chooses, leaving
the team confused, frightened, and untrusting of one another. A series of bloody events reveals
that appearances can be deceiving, that one's best friend may very well be harboring inside of
him
a deadly creature capable of unleashing unspeakable, grotesque attacks.
The most obvious, and superficial, aspect of The Thing is its incredibly gory and downright
disgusting props and special effects. Let it be stated up-front that anyone
without an iron stomach will want to stay far away from this film. The gore is
appropriate to the story and no matter how nauseating, no matter how twisted, and no matter
how far the effects push the boundaries of taste, they make the film all that much the better.
Nothing
short of the grotesque would suffice in moving the story along, showcasing what
there is to fear and why the paranoia and tension amongst the stranded Arctic team is as
elevated
and intense as it is. Nevertheless, the film's special effects are not the
centerpiece of the film. For as unpalatable as they may be, they simply reinforce the story rather
than tell it. The movie, including the dialogue, the direction, the acting, the set design, and
the music, does an excellent job of elevating the tension in the American compound that finds
itself the new victim of "The Thing." The actors are
convincing in their paranoia, distrust, and outright fear of one another and everything around
them. The nondescript sets, with little recourse for the comfort of the terrified prisoners-of-fear,
certainly elevates the film, as there is nothing but a flamethrower and a few sticks of dynamite to
protect themselves, and only a scalpel and a few petrie dishes to assuage their paranoia and
decipher who is human and who is not.
Also a show-stopper and plot mover is The Thing's excellent score courtesy of Ennio
Morricone (The Untouchables).
The legendary composer's work features heavy use of electronic and synthetic beats and is not
only
reminiscent of Carpenter's own work on films like Escape From New York, but also of
Goblin's tremendous soundtrack to Dawn of the Dead. Reminiscent of the late 1970s
and early
1980s, the score features pulsating, low beats meant to instill in listeners a sense of impending
dread, while other, higher-pitched cues are meant to give listeners the chills, and it does so
efficiently and without remorse, complimenting each and every mood and emotion throughout
the film perfectly. Last but not least is the film's conveyance of the true meaning of terror, one
that cannot be specifically delved into without spoiling the film, but suffice it to say that the
conclusion is the very essence of Horror. In many ways, it is trademark Carpenter, particularly
when thought of in the context of Halloween and They Live.
Dawn of the Dead Rating: 3/5
Ana (Sarah Polley, Beowulf & Grendel) is
a nurse who returns home from an overlong shift at work to spend time with her husband,
tuning out the world and finding herself completely unawares of the mayhem about to erupt all
around her. She and her husband awaken the following morning to find a neighborhood girl in
their bedroom doorway. The crazed, bloodied girl devours Ana's husband's neck. He
seemingly perishes but rises to his feet and attempts to kill Ana. Barely escaping, she exits her
home to find her suburb, and Milwaukee proper, engulfed in bloody chaos and overrun with the
living dead. Following a harrowing car accident, she meets a police officer named Kenneth (Ving
Rhames, Saving God), who is
on
his way
to a local military base, Fort Pastor, to reunite with his brother. The two subsequently stumble
upon
another ragtag band of survivors who inform Kenneth that the road to Fort Pastor is one that
leads to certain death, and the groups combine forces and head to a local mall to seek refuge
from the chaos outside. There, they and a trio of security guards hole up and seek any and all
information and aid they can find, all the while trying to maintain their sanity and survive both
the
bloodbath outside and one other on the inside.
Dawn of the Dead is a film drenched in blood, and there is no escaping that. Relentless
and
grim, the film is sure to satiate the appetite of the most ardent gore hound. Dawn of the
Dead plays as a hyperactive blood bath, and despite the references to Romero's film, it does
not
necessarily target a more mature audience who grew up with the works of Romero, Argento, or
Carpenter, instead hoping to draw in a new generation of horror fans who enjoy the works of Eli
Roth, Leigh Whannell, and Marcus Nispel. Nevertheless, the filmmakers
have seen fit to pay homage to the original throughout,
and not only via the film's title. Fans of the Romero film will notice a department store at the
mall
named for Gaylen Ross, the lead actresses in the original Dawn of the Dead, and cameos
from Ken Foree and
Tom Savini, star and famed make-up artist from the 1978 film, respectively. In some ways,
then, the film is a tribute to the original, but in other ways it is somewhat of an insult. Gone is
the satire on
commercialism and the herd mentality that served as the never seen but always implied force
that drove the first film, replaced by a mostly straight horror picture with no underlying message,
which is why the film does not come close to being as compelling as Romero's. 2004's Dawn
of the Dead, instead, focuses on creating faster, gorier zombies and quickly-paced action
sequences meant to raise the adrenaline levels of viewers, rather than framing the picture in any
sort of context outside of a superficial gore- and action-fest. The characters in this newer version
are far less interesting and come complete with dull and predictable personalities, too. The best
characters are Kenneth, probably because Ving Rhames brings a genuine performance and a
focus to the character, and the gun shop owner, Andy, who is better developed and more
interesting
than any other character in the film, and with practically no dialogue. Superficially, however,
watching the film for nothing but the violence and gore, it is plenty entertaining. It's a
nonstop Action film that is never afraid to open the floodgates and pour an endless supply of
blood
and guts onto the screen.
Dawn of the Dead also fails to engender any sort of emotional bond between audience
and characters. Some scenes try to come off as touching, but they flop. As mentioned above,
Kenneth and Andy are the only two with whom the audience is ever able to build a rapport.
Even Ana, played by Sarah Polley, and Michael, played by Jake Weber (U-571), offer little in
the way of
genuine emotion or spirit. The security guards are tedious at best, lending to the film nothing
but a cheap antagonist that offer no more in the way of development than the film's primary
enemies, the horde of nondescript zombies who do nothing but run around with blood all over
themselves. Also failing are several scenes that aim to be both bonding moments for the
characters
and serve as a reinforcement of the poignancy in the face of the despair of the situation. Such
scenes mean well, but do little to keep the pacing up, and even less to further emotionally invest
the audience in the characters.
Land of the Dead Rating: 4/5
"When there is no more room in hell, the dead will walk the Earth." It's been years since the
dead first rose and plagued society with fear and paranoia, but mankind has valiantly attempted
to move on and create a more secure world, one that almost seems to be a voluntary prison that
has fortified itself from the hordes of undead that roam the Earth in search of human flesh to
devour. With an electrified fence, a military force, and water on two sides, Fiddler's Green
seems to be the safest place in the world. Unfortunately, looks can be deceiving, and the true
enemy to mankind's survival may already be within the city walls. To begin the story's action,
the
renegade Cholo
(John Leguizamo, Ice Age), who
envisions himself much more valuable that he really is, commandeers the Dead Reckoning, a
powerful vehicle with the latest in weapons and armament. He then threatens to destroy part of
the city, including the home of the city's overlord Mr. Kaufman
(Dennis Hopper, Speed), if he is not
handsomely rewarded financially. Kaufman calls up the Reckoning's creator, Riley (Simon Baker,
Sex and Death 101),
to retrieve Cholo and the Reckoning before the Dead that live outside the city have a chance to
get in. Meanwhile, the zombies who lurk outside the city seem to be getting smarter.
Led, as much as the living dead can be led, by Big Daddy (Eugene Clark), they gather to combine
their newfound skills for what may
be a mortal blow to Fiddler's Green -- and the last hurrah for mankind.
Land of the Dead is a sound, logical progression of how society may very well move on
during a zombie infestation. The survivors rely on crude but highly effective technology to defend
themselves, including heavily armored vehicles, plenty of handheld weapons and small arms, and
large fortifications equipped with an electrified wire perimeter. Make no mistake about it, these
individuals live in a war zone, and if the movie proves anything, it is that even during a war
pitting mindless automatons with only human flesh on the brain versus living, thinking beings
can be a losing effort for the living-- because those with the ability to think, think too much
outside of basic survival techniques, and work for themselves and against one another rather
than as a cohesive whole against a horde of relentless enemies. The Dead films have
always been about exaggerating and emphasizing the core of the human condition, and
Land is no different. Viewers see the living succumb to the vices of greed and
complacency in
this picture. Various characters remain focused on dollars and riches, even in a world where
wealth means far less than it would in a "normal" environment. In the meantime, Romero
shows audiences various scenes of individuals attempting to return to a cozy, normal lifestyle. In
their attempt to reclaim that normalcy, they forget there is a war outside the city walls, where a
vast and relentless enemy army stands ready and willing to destroy them. It is the complacency
of the many, just as much as the greed of the few, that just may be the downfall of this sliver of
mankind.
In Land of the Dead, George Romero has also worked in the continued progression of the
zombies in a most logical manner. Fans will recall the evolution of the living dead throughout the
series, and in Land, their further development into more adept, "intelligent" beings takes
yet another evolutionary step forward and fits perfectly into the evolutionary path the beings
have taken in the previous two films. In Dawn of the Dead, viewers see the zombies
coming
en masse to the mall, with the suggestion that they are returning to a familiar place, somewhere
that played an important role in their lives. In Day of the Dead, the zombie dubbed
"Bub" recalled the muscle memory of the military salute, and the proper use of headphones, a
telephone, and even a pistol. Land of the Dead continues the slow yet steady climb up
the evolutionary ladder as zombies further recall the basics of using blunt and sharp objects as
weapons, remembering basic skills such as pumping gasoline or firing a weapon, and working
together to easily defeat obstacles.
Land of the Dead features a diverse cast with more star power than the previous films
combined, and they are all over the map as far as their development and connection with the
audience. Simon Baker as Riley is an affable enough hero but has no real arc in the film. He
plays an important role, but other than offering a level head in a crisis situation and providing
some technological know-how that proves important later in the picture, he comes off as a very
ordinary hero, but then again, one may argue that such a character is more realistic to the
situation than would be a musclebound Schwarzenegger type who mows down rows of zombies
in every other frame. His sidekick, the severely burned and slightly mentally challenged
Charlie, comes off as slightly annoying in scenes, but he also plays his role as somewhat of a
middle ground between human and zombie. His mental acuity is rather low and his face is
disfigured (reminiscent of a zombie), but his instincts and allegiance to his friend go unquestioned
(showcasing the best attributes of man), and of all the characters
in the film, he is probably the most balanced, influenced by nothing else than to see each
situation through with a positive outcome, namely the continued survival of himself and of his
friends. John Leguizamo's character is perhaps the most interesting, playing as an anti-hero of
sorts. His motivations are simply greed and social advancement, but it's hard not to root for
someone so adept at shooting zombies through the head, not to mention the character that
plays as public enemy number one to the film's most dubious character, Kaufman, played by
Dennis Hopper. Like Leguizamo's Cholo, Kaufman is driven by greed and power in a world where
such things seem to matter little, and he holds the position Cholo desires to settle into. His
power and wealth are his sole focus to the end, and the fates of both of these greedy characters
make for a fascinating case study in the perils and pitfalls of such single-mindedness, even in the
face of an enemy that is also singleminded, but with a completely different focus.
As a side note, Pittsburgh's own George Romero continues to base his film in the Steel City, even
though Land of the Dead was filmed in Toronto. Those familiar with Western
Pennsylvania will note several visual and verbal references to the area, and may even make the
connection between the name given to the Dennis Hopper character, Kaufman, and the
influential Kaufmann family that hails from the area, founders of the now defunct Kaufmann's
Department Stores. The family commissioned renowned architect Frank Lloyd Wright to construct
Fallingwater, recognized as a U.S. National Historic
Landmark.
The Thing infests Blu-ray with a fine-looking 1080p, 2.35:1-framed transfer. Obviously,
The Thing has never looked better on home video than it does here. The film's open,
featuring a background of white arctic snow contrasted against a bright daytime sky, is pure in its
presentation and a pleasure to behold, particularly for those who have seen the film countless
times before. Still, there is some noticeable noise against some of the brightest backdrops that
may bother viewers looking for the smoothest picture available, but it peaks in such scenes and is
never very noticeable through the rest of the film. Colors are somewhat dull, a reflection of the
nature of the movie and not a shortcoming of the transfer. Colors look fine, however, every
shade
rendered very well in the context of the film, with the brighter, outdoor, snowy scenes showing a
bit more depth and vibrancy than the dim interiors. Black levels are fairly good. Flesh tones are
accurate, if not a bit pale, but considering the cold, unforgiving temperature, that's to be
expected. What makes the disc look so good is the detail inside the compound. It's rather drab
and colorless, but it looks worn and beat up, old and lived in, cold and lifeless, and every little
nuance shines through, a tribute to the wonderful set design in the film. Sure, it's pedestrian,
but it is meant to be, and it's stunning on this disc. Detail is increased considerably over the
previous DVD edition in every regard. The Thing boasts a fine transfer that offers quite
the
upgrade from previous standard definition versions.
Dawn of the Dead Rating: 3.5/5
Dawn of the Dead infests Blu-ray with a 1080p, 2.35:1-framed transfer. Detail is
excellent in many scenes and the transfer often conveys a sharp, crisp image that pops right off
the screen. Black levels are decent, if not a bit crushed, however. Dawn of the Dead
features a distinctive color palette; the interior mall shots are sometimes a cold, somber shade of
green, but
the film takes on many other tones, too, from bright, natural exteriors to dim basements and
garages, all running the gamut of visual styles. The film oftentimes alters drastically in its visual
conveyance of the story. From scenes exhibiting extreme amounts of noise in dark, poorly lit
locales, to bright, clean, eye-catching scenery that is nothing short of amazing, the film manages
to keep viewers interested to see what sort of visual cues the film will take on next. There is sort
of a processed, artificial look to much of the film which stays true to its intended look. The clean,
steely look of the mall comes through fine, with plenty of eye-catching detail
to be found. Grain and noise is seen aplenty, particularly over bright whites, and while some
shots are clean, others are caked in speckles and other blemishes. Dawn of the Dead is a
frustrating transfer at best; its wide array of color schemes, locales, and textures sometimes
translate well to high definition, and other times make for a fairly nondescript experience. With
its greater attention to detail, however, the transfer is still a solid step up from the standard
definition DVD.
Land of the Dead Rating: 4/5
Land of the Dead bites into Blu-ray with a solid 1080p, 2.35:1-framed transfer. Colors
are
excellent throughout the film, and even in the dark, bathed-in-blue sequences that open the
movie,
they stand out as natural under any lighting condition. Black levels are superb in most scenes,
but
a few shots show a hint of gray in the darkest areas. Detail is very good in most every shot. The
wear and tear on the vehicles, particularly Dead Reckoning, shines through. The gore, in classic
Romero style, looks fantastic as every severed limb, ripped chunk of flesh, exposed innards,
decapitated heads, and drop of blood are clearly revealed in many shots throughout the movie.
Grain spikes in a few scenes; otherwise, it's not present in abundance. Flesh tones veer to the
red
side of the spectrum and appear somewhat unnatural. Despite being drenched in darkness, the
image has quite a bit of depth and many scenes jump off the screen. The interior of Kaufman's
penthouse apartment is rich and lifelike with solid colors and realistic textures. Land of the
Dead won't be nominated for year's best transfer, even if the contest was only between
other
Universal titles, but the transfer holds its own and, through its dark style, holds its own nicely.
They say imitation is the sincerest form of flattery, and one might imagine that the film's title
creature
would
agree. In this case, however, Universal's lossless DTS-HD MA 5.1 soundtrack is not simply a lossy
imitation -- it's the full thing, The Thing exactly as it was meant to be heard. Whether
he
writes the music or not, Carpenter's films always feature standout soundtracks, and The
Thing
is
certainly no exception. As expected, it's never sounded fuller and more robust than it does here.
The music that plays over the credit sequence to start the movie is clean and precise, with a
constant low frequency pulse that sets a most foreboding tone. Then, a flying saucer sweeps
past and hurtles toward Earth in a scene that would later be replicated to begin the Arnold
Schwarzenegger Action classic Predator. The
opening scene in Antarctica, following a chopper and a shooter chasing a dog from above,
features the sound of the rotors spinning all around when the camera is placed in or near the
chopper. Gun shots crackle precisely in each speaker, the result of great sound design. The
entire sequence -- featuring not only the chopper and gun shots but a few explosions -- sounds
far
better than it has before. One scene that stood out was a rather simple one, and a
fairly nondescript one at that.
There is often an appreciable atmosphere created in the soundtrack as the harsh, chilled arctic
breeze is generally heard blowing around the room, mostly over the front soundstage, but to very
good effect nevertheless. It's just one small part of the track that adds to the overall feeling of
realism. The film's action sequences also shine. The shrieks of the creature, the power of the
flame thrower, and the various audible accompaniments that enhance the special effects are all
integrated into the soundtrack with nary a hiccup. Dialogue reproduction never falters
throughout. The Thing does not offer an expansive, rich sonic experience as one
might expect from the latest summer blockbuster, but taking all things into account, the film has
never sounded better at home.
Dawn of the Dead Rating: 4.5/5
As with most other Universal Blu-ray titles on the market at the time of this publication,
Dawn
of the Dead is an absolute blast to listen to, offering listeners a captivating DTS-HD MA 5.1
lossless soundtrack. Dialogue seems a bit low in volume at the beginning of the film, but no such
anomalies were noticed once the film gets going full-steam. The volume of sound effects is
plenty
loud, however, offering listeners an entertaining sonic siege on the aural senses. Surrounds are
present and accounted for in nearly every scene. This track is a continuous bombardment of
horror
action, and it never shies away from exploding into a symphony of well-placed and expertly
rendered sound. Bass is thunderous, providing a powerful workout for the subwoofer, through
both sound effects and the film's dark, deep, and harrowing score. Guns shots ring out loud and
powerful with fine imaging and directionality, sounding full and fairly realistic. The track often
creates an immersive 360-degree sound field that draws listeners into the film. Atmospherics are
excellent. Music finds its way into the back channels and spreads nicely across the front. The
soundstage also takes on an expansive feel as voices echo through the empty chambers of the
mall,
a great example being a dialogue scene in chapter 14. Dawn of the Dead hits all the
right
notes, and for a movie primed for a great soundtrack, this one does not disappoint.
Land of the Dead Rating: 5/5
Offering listeners a DTS-HD MA 5.1 lossless soundtrack, Land of the Dead brings its
horrifying world to glorious life. The sound is rich, full, and immersive, and right from the
dread-inducing score over the opening credits, which floods the soundstage with creepy notes and
atmospherics, listeners will surmise that they're in for quite the treat. Excellent, rumbling bass
accompanies the soundtrack and is palpable in a wide variety of sequences. Surrounds are used
effectively and naturally to create a terrifying atmosphere of music and sound effects.
Bass-heavy
beats fill the soundstage, motorcycles drive to and fro around the listening area, fireworks explode
and pop all around, gunfire emerges from every speaker, and splattering corpses and blood smack
the pavement with nasty precision. The soundtrack also features some hard-hitting hip-hop
numbers playing over one sequence of the film in chapter eight that pulsates and pounds away
with
clarity and excellent fidelity. Dialogue reproduction is clean and crisp with no volume anomalies
to
report. This is one loud, tough-as-nails soundtrack that is reference material through and
through.
It gets the blood flowing and makes the movie all the more enjoyable.
The one area where this disc is sorely lacking is here, the supplemental section. Fortunately, the
disc offers two solid extras, the first being a wonderful commentary featuring director John
Carpenter and actor Kurt Russell. Carpenter's recounting of the filmmaking process and the
experiences he and the cast and crew shared while shooting the film is impressive. Russell plays
second fiddle to the director, but his contributions are nevertheless insightful and interesting.
Anytime one has the chance to listen to a world-class director and an accomplished actor,
attached
to a picture representing a fine example of a particular genre, it's hard not to take notice, and this
commentary track is well worth the time one invests to listen to it. Lastly, this disc is
U-Control enabled. When turned on, a pop-up window will appear intermittently throughout the
course of the movie. This window provides an array of behind-the-scenes materials, ranging from
John Carpenter's recounting of the first time he saw The Thing From Another World, and
his
desire to make a film truer to the original John W. Campbell story, Who Goes There?, to
the
work that went into creating the special effects seen in the film. Via the main menu,
users can also choose to jump directly to each segment rather than simply waiting for them to
appear.
Dawn of the Dead Rating: 1.5/5
Dawn of the Dead fails to provide fans all of the supplemental materials found on the
previous DVD edition, but it does port over a commentary track with director Zack Snyder and
producer Eric Newman. This track is fairly basic in nature, though it is entertaining as the
participants discuss the experience of creating this, their first feature-length film. They enjoy the
process of recounting their thoughts, chuckling over some of the curious decisions made by
characters in the film, and more. It's a swift track, one easy to get into and enjoy, and fans of
the
film might enjoy this one on a sleepless night. Lastly, this disc is U-Control enabled. Every
chapter
of the disc offers some sort of pop-up picture-in-picture feature, the segments ranging from
interviews with the cast and crew, discussions about the re-imagining of the speed with which
the
zombies move, and a look at the gore and make-up effects seen in the film. As always, fans may
choose to jump straight to the segments via the U-Control menu rather than simply waiting for
them to appear over the film.
Land of the Dead Rating: 2.5/5
Land of the Dead offers viewers plenty of raw bonus materials to chomp on, beginning
with
a commentary track featuring director George A. Romero, producer Peter Grunwald, and Editor
Michael Doherty. It's always a treat to have a chance to listen to Romero, and he provides
another
solid track here. He, and the other participants, discuss zombie lore (including how one may
become a zombie and the evolution of zombies, including a discussion of the character "Bub"
from Day of the Dead), the motivations of the
characters, both subtle and obvious, a discussion of scenes added back into this release from the
theatrical version, the film's gruesome effects and various CG shots, and more. The track flows
well
and works best for fans of the film and of Romero's body of work. Universal has also made this
disc
U-Control enabled. The picture-in-picture window appears only intermittently, but users can
jump
directly to the segments of the film where the window appears. Viewers who choose to watch
will
be treated with storyboard art, interviews with cast and crew, behind-the-scenes footage, and
more.
The Remaining Bits (480p, 2:56) is a series of deleted scenes. When Shaun Met
George (480p, 12:59) is a great, fan-friendly feature showcasing Edgar Wright and Simon
Pegg of Shaun of the Dead fame as they travel to Canada to appear as Zombies in
Romero's Land of the Dead. Scenes of Carnage (480p, 1:43) is simply a
collection of the film's most gruesome scenes played consecutively. Zombie Effects: From
Green Screen to Finished Scene (480p, 3:18) is an intriguing un-narrated feature that looks
at the evolution of a number of scenes before and after the addition of special effects.
Bringing the Storyboards to Life (480p, 7:55) shows viewers a series of storyboards
playing over the final corresponding scenes from the film. Concluding the supplements is
Scream Tests: Zombie Casting Call (480p, 1:04).
Rather than showing people rehearse for roles as zombies in the film, as the titles implies, it
simply shows a few crudely animated CGI zombies dancing.
This "Halloween"-themed Blu-ray three-pack offers more treats than tricks. All three films range
from
"entertaining" to "classic," and each Blu-ray disc is superb. The Thing is one of the best
Horror films ever made, period. It's the perfect blend of gore and fine moviemaking. Though a
successful Horror picture need not be gruesome to be effective, the excessive violence works
wonderfully in context, and it is one of the few extra-gory pictures that also offers all of the
hallmarks of classic filmmaking alongside the blood. Land of the Dead is one of George
Romero's best films. It seems to have been lost in the shuffle somewhere and hasn't yet earned
the respect it deserves, but hopefully movie fans will come to see the film for all it represents as the
years go by. Finally, Dawn of the Dead is a highly entertaining remake that is hindered
primarily by its title. It has quite a bit to live up to given the reference to the seminal Romero film,
but it never quite matches the original. On its own merits, however, it makes for solid escapist
entertainment and is one not to be missed. Each disc offers rather strong video and audio and a fair
amount of bonus materials. At just a bit over $12 per disc, Universal is practically giving these discs
away. Highly recommended.
Today marks the beginning of the fourth quarter in retail sales, a time where manufacturers, content providers, and retailers join together in order to provide the largest variety of titles and hardware in anticipation of the holiday gift-buying season. How appropriate ...
All countries
