During my mini-vacation to the OBX, 5th and I caught a movie I've been excited about or a long, LOOOONG, time: Romero's new
Land of the Dead. I am, of course, a ridiculously huge zombie movie fan, and this movie was the best I could've hoped for. This CHUD
review hits a lot of the good points, but I'm going to go for more to explain why this is not just a good zombie movie, but a good movie overall.
Land is like the
Aliens of the
Dead franchise. In the previous three
Dead films, we dealt with survivors held up in first a house, then a mall, then a military base. Usually the plots were fairly one-note, a group of survivors trying to eke out an existence and survive an onslaught. The characters in Romero's films were always pretty well crafted, but the plots were usually simple and the situation simple. Not so in
Land.
Land of the Dead shows Romero's thinking about zombies and as a writer and director evolved, much like the intelligence of the zombies themselves by the time
Land begins (all the relevant backstory is told in an incredibly creepy and powerful credit sequence, in grainy black and white and through the original radio from
Night of the Living Dead, so you don't need to have seen any of the other films to understand the apocalypse scenario.) The archplot is conceived from FOUR (count 'em) separate subplots, which is not only unheard of for a horror movie, but which most movies on their own can't support. There is true-blue, world-weary hero Reilly (Simon Baker), greedy Nietzschean upstart Cholo (surprisingly less annoying John Leguizamo), rich uberbastard and would-be villain Kaufman (vintage Dennis Hopper), and the real star of the movie, "Big Daddy" the Einstein zombie (Eugene Clark). The plots weave and converge at points, but are definitely distinct story-points and follow distinct paths. This cast of characters, however, all have very distinct personalities and prove to be the foundation for the film. The setting is also better. Instead of protaganists suddenly surprised by an onslaught of zombies, these are characters who all have lived for a long time and built a life in a land of zombies true to its title. They are neither scared, nor really phased by the appearance of them (they even have a cute nickname for them: "stenches"). The characters led by Reilly and Cholo are actually experienced raiders of the outlying city's lands, used to confronting and battling the undead on a daily basis in a monstrous truck/tank called "Dead Reckoning".
That said, this is not a very scary movie. There's lots of death, there's lots of gore, there are a few horrifying moments, but this is more interesting as a thriller/action movie than a horror movie. Its way more about the plight of the characters and the plot (Big Daddy's Journey) than it is about scaring the audience. Big Daddy, the Zombie-In-Chief, is a curious character in that during the entire movie you don't see him munch on a single person. He pulls other zombies off the carcasses they are mauling to get them focused on the task at hand (laying siege to the human city). Big Daddy even expresses genuine sorrow and outrage as the gang of human bandits lead by Cholo and Reilly mow down his fellow-zombies. He also displays pretty creative ways of killing people (none of which actually involve eating them).
A number of trite themes and symbolism also pop up, from Kaufman's rich-people-only paradise "Fiddler's Green" and the rundown slums of poor survivors around it, to the eventual scenes of the zombies assaulting "Fiddler's Green" that invoke the storming of the Bastille or 1968 riots. There are a ton of lefty/Marxist motifs in the movie, but that doesn't really render it any less enjoyable. Asia Argento does her job by acting decently and looking HOTT as ever, and Robert Joy has a nice turn as a less-than-bright, deformed guy with a good heart who Reilly rescued from a fire. Land entertains, that much is obvious, but it also has complexity almost never seen in this kind of fare, rising to the intelligent levels of
28 Days Later easily. Lots of other filmmakers have done incredible things with Romero's influence, but Romero reasserts himself in this one. He is their Daddy.