![]() Their humble rewards are the table scraps of Kaufman (Dennis Hopper), the string-pulling CEO of skyscraping shoppingtown Fiddler's Green. A band of mercenaries with a huge armored assault vehicle (named "Dead Reckoning") carries out night missions to thin out the zombie herd. Land of the Dead takes place in a walled city that tentatively holds bordering zombies at bay. Romero now has to chase his own shadow, and his acquisition of a substantial budget, at last, suggests a cliche: "be careful what you wish for" (or, perhaps, "nothing exceeds like success"). Romero's Land of the Dead, and though the director agreeably follows his own pattern of gore and social commentary, the result is inescapably deflated. Romero's first two Dead films are now generally considered classics of the horror genre, and though critics and fans remain split on Day of the Dead, all three films allowed Romero to implant subtextual satire about human nature and social constructs. Universal turned around and bankrolled a long-aborning fourth picture in what writer-director Romero originally conceived as a trilogy, begun with 1968's Night of the Living Dead. In fact, a remake of Romero's Dawn of the Dead (derided by Romero loyalists for zombies that run instead of stutter-stepping) pulled big numbers only last year for Universal Pictures. ![]() ![]() Romero's Day of the Dead, and the interim has seen the rise of CGI effects and the mainstreaming of zombie horror. It's been 20 years since the release of George A. ![]()
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