George A. Romero's Diary of the Dead +

[Kunac]

Hmmm... Izgleda da su "From a Buick 8" i "Solitary Isle" za sada sam pusti snovi. Uporni Romero sprema novi projekat.

"The Hollywood Reporter" obzanjuje:

NEW YORK -- The dead are rising again. Horror maven George A. Romero has signed on to write and direct "George A. Romero's Diary of the Dead," following in the tradition of his 1968 cult classic "Night of the Living Dead." With a story mixing elements of "The Blair Witch Project" and the long-running "Dead" series, the film will follow a group of college students shooting a horror movie in the woods who stumble upon a real zombie uprising. When the onslaught begins, they seize the moment as any good film students would, capturing the undead in a "cinema verite" style that causes more than the usual production headaches. After going more than two decades without making an independently financed zombie film, Romero told his production partner Peter Grunwald he was frustrated working within the system. "I was trying to convince Peter we could just run off and do it ourselves," he said. (Gregg Goldstein)

Zanimljivo.

Btw, ako niste znali, Đorđev sin, G. Cameron Romero (puno ime George Cameron Romero!) je režirao svoj prvi dugometražni film. Pogledao sam trejler - ne izgleda loše, mada je očigledno da je budžet bio mizeran. "The Screening", sudeći po trejleru i kratkom sadržaju, veoma podseća na Carpenterovu epizodu "Gospodara horrora"...

Na http://www.myspace.com/screeningthemovie piše:

A theater holds an underground screening of the "Borgia" films, a murderous family's twisted idea of art. Art that hasn't been shown since the jury convicted the last in the family bloodline. Rumors of that jury's loss of sanity and the films being the cause bring attention to the event. An audience filled with morbidly curious patrons come from all over to see these alleged snuff films. Others come for different reasons. Some come looking for answers. Are the films real? Did the last people to see them go crazy? What will happen once the projector starts?

[Ghoul]

braindead idea.

vrrrrlo sam skeptičan.

[taurus-jor]

Ako Romero bas mora opet da se hvata zombija, moze li makar da ponudi nesto originalnije - neko odstupanje od samog sebe ako ne moze od drugih?

Vestica iz Blera. Zombiji iz Blera. Milooooost!

[Kunac]

Mislim da je GAR prisiljen na ovoj potez - u suprotnom može mu se desiti da čeka još 5-6 godina na priliku da ponovo režira. Pitanje je da li on ima to vreme na rasplaganju.

Ni ja nisam na prvi pogled oduševljen novim konceptom, ali manji budžet podrazumeva veću kreativnu slobodu. Uostalom, najbolji GAR-ovi DEAD filmovi su nastali u nezavisnoj produkciji...

Nego, na BloodyDisgusting-u "Diary of the Dead" se najavljuje kao The Next 'Dead' Sequel.

A year after a moderate successful release of Universal's "Land of the Dead" here in the States and a very impressive overseas run, George A. Romero is once again on top of the zombie world and ready for another mouthful of flesh. We broke the news way back last summer that Romero wanted to begin a brand new trilogy of the dead, starting with "Land", with the second film being entitled "World of the Dead". No news has surfaced since then and I had thought that maybe it was dead in the water - but alas I was wrong! Welcome to "George A. Romero's Diary of the Dead".

[Milosh]

Ne znam... Kako god da posmatram stvari, ovo mi zvuči kao dtv materijal, nešto kao The Dead Hate the Living! Nisam optimista...

Gde je Road of the Dead?!

[Kunac]

BREAKING NEWS!

Hi everyone, Nina here. We've had a lot of zombie news in recent days, and today is no different. Below is an EXCLUSIVE preview piece where Leather Lass and Jenny From Canada double-team George A. Romero's upcoming Diary of the Dead script. Now before you go jumping ahead to feed your insatiable appetite for all things zombie, be forewarned... there be SPOILERS ahead.

Having said that, read on, Big Daddy!


--------------------------------------------------------------------------------

LL: Leather Lass here with my thoughts on George Romero's newest venture in the world of zombies, Diary of the Dead [with comments from Jenny From Canada!]. I just couldn't do this one alone to be honest. I love horror movies, but I have never been one of the Cult of Romero. Other than the first movie, Night of the Living Dead, I have been rather bored with these zombie films. At the risk of alienating our readers, I actually found the remake of Dawn of the Dead to be a much more interesting and exciting film than the original. And don't even get me started on Day of the Dead. That movie made my logic hurt.

Not that Romero isn't trying, though. At heart these zombie movies are trying to convey some relatively complicated social analytics, and that isn't the easiest thing to do when the kids want lots of gore and neck munching. Romero's zombie films have some really bad tendencies though. The chief problem I have found is that while the ideas are grand in their own right, the dialog to support them is almost universally cornball, and matters are not improved by the fact that Romero has a weakness for casting poor actors.

So why am I reviewing his latest entry into the Dead franchise? Well, I actually enjoyed Land of the Dead a lot more than I ever thought I would. Land has some terrible problems. It's a heavy handed movie with a plot that doesn't quite sit well with me, but the big difference between Land and Dawn or Day is that he staffed the film with a group of talented actors who had charisma and took the material seriously enough to keep me engaged. Suddenly, Romero didn't seem like a one trick pony to me, and when I found out about Diary of the Dead and its high concept plot, I couldn't resist getting my hands on the script and sharing my feelings about it with you.

JFC: Jenny here. I'm not going to bore you with details on why Lass sucks and is wrong on all her points. She knows she's wrong, and I'm only saying that because she's on the opposite side of the continent so she can't hurt me.

LL: The premise behind Diary is simple really. The entire movie is told from the point of view of different cameras the characters encounter along their adventure. Most of the footage is obtained through the main character's camera. He's a young filmmaker trying to make a low budget movie when the world begins to change. Since all of the main characters are either college students or one plucky professor, they decide to stick together in order to get home to their families during this terrible crisis.

JFC: It's such an awesome premise.

LL: The movie doesn't initially start off with those we would follow throughout the rest of the story. Instead Romero, who penned the screenplay, offers up a prelude featuring the exact moments when Hell arrives on Earth. A young reporter is with her camera man covering a murder-suicide involving a family in some inner city neighborhood, and the reporter encourages the camera man to obtain footage of the bodies being escorted from their home. Suffice to say, we soon find out that the murder victims are still moving after they were pronounced dead.

The set up is brief, but handled very well. The only glimpses we see are from either the cameraman's viewpoint, and the scene is blocked in such a way as to maximize the horror and surprise of the situation.

From there we are introduced to the main heroes of the story. Jason is basically the eyes and ears of the film. When we first meet him, he is filming a cheesy scene for his Mummy movie. A woman in a skimpy white dress is chased through the woods by a heavily bandaged mummy. Eventually, poor direction and lack of decent make up effects halts the scene, but Jason keeps the camera rolling as we meet the rest of the crew, who all seem to fit into some skimpy level of characterization. Along with the girl in the diaphanous dress, Tracy, we meet Tony, the Brooklyn trash mouth Doubting Thomas of the group. We have Elliot, the presumably geeky sound guy with long hair and glasses. We also meet Jason's college instructor Maxwell. Romero goes overboard to insure we understand Maxwell is a drunk as he quickly takes a swig from a flask he keeps hidden no less than three times in the course of a page. In short order, we also meet Gordo (no defining characteristics), Ridley (rich twat), and Francine (looks good in overalls? Is that a stereotype?).

Romero takes this moment to comment on zombie movies in general with something I would like to address. When the Mummy character in the movie within the movie moves too quickly, Jason chides him saying, "How many times do I have to tell you? Dead things don't move fast! You're a corpse, for chrissake! If you try to run that fast, your ankles are gonna snap off!" This is obviously a backhanded jab at the Dawnremake (or even the stunning 28 Days Later), but I have to bring up something that really irks me about this. If this is Romero's definitive vision of how zombies would behave, then in Land of the Dead, why do we have a zombie operating a damn jackhammer?!? I hope this petty line gets cut.

JFC: OMG, you missed the point entirely. Yes, he's knocking the recent "fast moving zombie" craze, but he's also setting up a key moment later in the film.

LL: All the characters are quickly consumed with news over the radio about the dead returning to life to terrorize the living. Francine and Ridley quickly leave in order to get back to Ridley's parents' sprawling estate where they are guaranteed security and supplies, enough to outlast the coming tumult. Jason on the other hand wants to find his girlfriend, Debra, and get the hell out of Dodge. This leads to the group headed out into the harsh new world in their van to try and get Debra back to her parents.

The set up is a sound one for any movie, but events are heightened by the sense that we are not watching paid actors in their roles, but instead real people dealing with an extraordinary situation. The point of view from Jason's camera does an amazing job of humanizing the characters, and this is only in print! The best part about this script is that, despite the fact that Blair Witch apparently now owns the concept of first person horror, Diary is a totally different type of film.

The movie is basically structured around three set pieces each involving the main characters going into a spooky home and having to deal with the consequences. If it sounds a tad repetitive to you, you'd be right, but I think that might have been the point.

As I mentioned earlier, Romero really tries to hammer away at some secret agenda about social injustice in each of his films. Diary is no different. In this case Romero seems to be tackling the desensitization to violence we are all exposed to because of the preponderance of the media in our lives. And we aren't just talking about the news and reality shows here. The movie almost seems to follow the structure of a video game. The characters quickly have to adapt to their surroundings, and the repetitive set pieces only reinforce their leveling-up. The group starts out as a group of skeptical naïfs, but they are quickly forced to use their wits and resources in order to survive the new world they live in.

What makes the idea of over-saturation of media interesting here is that the main character becomes obsessive about keeping his camera rolling at all cost. You are left to wonder, is he documenting all of this for altruistic reasons? So people who find it might benefit from his mission? Or perhaps he can't grasp what is happening right in front of him, and the only way he can be engaged in this reality is by experiencing it through the monitor on his camera.

JFC: I think it's the latter, personally, and I think it's brilliant.

LL: The first person perspective here should do a lot to enhance the idea, and I am anxious to see if Romero can pull it off. Since Blair Witch managed to remain an effective and creepy ride without the talent of good acting, I am not going to comment on Romero's propensity to cast bad actors. As long as the cast isn't too stiff, things should get interesting. I am especially anxious to see who is cast as the professor, Maxwell. The character gets more interesting and less "one note" as the movie progresses and he actually gets to do some zombie killing in a way we haven't seen before.

What I do worry about is the blocking of the entire movie. The script is pretty clear about viewpoints and action, but it's not all on the page, so to speak. I am hopeful that Romero has taken the time to really storyboard this out so that we get a complete picture of what is happening and not just lazy shots of the camera bouncing all over trees like in the Blair Witch.

JFC: I loved it, and I think that it's going to be a great film... a nice return to low budget horror for Mr. Romero. It's only going to be that much better for shooting in Canada.

[Kunac]

Najzanimljiviji ekstrakti iz rivjua DIARY scenarija koji je isplovao na http://www.aintitcool.com/display.cgi?id=24404

*The film takes place outside of the Night, Dawn, Day and Land chronology.

*It's present day and there's no explanation.

*The students are shooting a Mummy film in the woods and when they pick up news reports on the radio they abandon the film and head home or back to their dorms.

*One student, ambitious film-maker Jason Creed, keeps filming as a documentary much to the others disgust.

*The film then becomes a standard zombie apocalypse story as the group, split and one faction make their way back to Jason's girlfriend's house.

*African American guerilla army pop up in the middle section (!?!?!?!?!) and when Jason posts the footage onto his My Space page he gets a million hits in an hour.

*The handheld camera style is really a stylistic device so it doesn't come over as cheap as it sounds. The action takes place on the road and in many locations and for some of the shocks it adds to their effectiveness. All the traditional ways for a filmmaker to technically build suspense aren't available with this style so the zombies appear almost out of nowhere.

*It's basically a zombie road movie with the sort of imagery Land was missing. We get to see Amish zombies, golfer zombies, burnt zombie cops and a character keeping the rest of his undead family, in the deep end of the swimming pool, underwater, because he doesn't know what to do with them.

Hmmm... Land of the Dead 2 a.k.a. Road of the Dead je trebao da bude zombie road movie... Svi dosadašnji DEAD filmovi su uglavnom prilično statični, tako da bi bilo zanimljivo videti Romerov zombi film koji nije podređen jednoj lokaciji.

[Ghoul]

NE DAJ SE, DEDA!!!

Shocking news from numerous sources regarding the health of one horror's most beloved directors in George Romero. Romero, who was to appear at this year's Rock & Shock Festival, collapsed last week and was hospitalized. No reason was given for the collapse, which is said to have stemmed from a non life-threatening illness, but because of it, Romero's jump on DIARY OF THE DEAD has been grounded for two months, along with personal appearances.

Romero, who turned 66 this past February, was also getting ready to begin his "Zombisodes" project, as well as writing and directing a film based on a short story by Koji Suzuki (author of RINGU and IN THE DEPTHS OF DARK WATER aka DARK WATER). No other information on Romero's status was available on his official site, so hold tight for any more information that comes of this.

[gargamel]

Zašto zombiji ne igraju fudbal?    Ne mogu da naprave živi zid

[Kunac]

Pokupio sam ovo saopštenje s dreadcentral.com: Contrary to news from other websites, Romero's newest project Diary of the Dead is not starting in a couple months. In fact, it is starting principle photography within 48 HOURS!!! That's right! Either Monday or Tuesday of this week Diary of the Dead is going to start rolling big time.

[taurus-jor]

1)
2)

[Kunac]

Snima se,  punom parom... Fangoria je skupovala prvi izveštaj.
http://www.fangoria.com/news_article.php?id=3058

GAR: "DIARY OF THE DEAD talks a lot about the media and this electronic eye that's everywhere out there, all the time. And the main character—well, you don't ever even see this guy; he's a voyeur. The film argues about the importance of media, and the status of someone in that position; it's an entirely new take on my themes... It's not BLAIR WITCH and my style is not BLAIR WITCH, and its not a purely visceral thing, my style is arch and theatrical, where BLAIR WITCH went for ultra-realism. Even though it is shot first-person, I'm trying to maintain the artifice and make some potent comments about the observer—while still supplying lots of nasty zombie stuff."

Ono što raduje jeste da je bioskopska distribucija planirana - i to za proleće 2007.

[Kunac]

[Kunac]

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=91388580

4 i po minuta sa snimanja DotD - bez spojlera!

[Kunac]

Ljudi s DREAD CENTRAL-a su uradili šestominutni intervju s GAR-om koji možete pronaći ovde:
http://www.dreadcentral.com/index.php?name=Broadband&bcpid=464121041&bclid=463868352&bctid=507831569
GAR otkriva detalje u vezi sa novim DEAD filmom (na primer, da li će biti distribuiran u bioskopima ili ne), pa čak nagoveštava i buduće planove...

[Milosh]

http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=91388580&blogID=297990086

[Kunac]

George Romero's DIARY OF THE DEAD on Fangoria TV
(Part One + Two)

http://www.youtube.com/watch?v=eQD4SQzNTiA
http://www.youtube.com/watch?v=8r-CnJfnU00

[Kunac]

Zavidim ljudima koji žive u Torontu (i novinarima kojima redakcije plaćaju putne troškove za putivanja na festivale). Prvo su mogli da overe novog Argenta, a sada i Romera... Na TWITCH-u se pojavio ovaj simpa text/rivju. Baš obećava.



Diary of the Dead is George A. Romero's reboot of his own series of '...the Dead' films after the less-than-classic Land of the Dead.  Studio budget and expectations are replaced with a back-to-basics philosophy – in Romero's own words, this is "one from the heart." Unlike the earlier aging vet, Midnite Madness entry, Dario Argento's Mother of Tears, Romero's new one shows that the man is very much in fine form.  Rather than the teeming hordes of undead encountered in Night, Day, Dawn and Land, the zombies in Diary are lone wanderers not dissimilar to the millions of folks browsing or writing on the internet (you know who you are).  In going back to his roots he finds a different direction to take altogether.  It is great to see Romero's batteries recharged after the apparently difficult time had during the shooting of Land of the Dead.  Smaller, more personal films, chock-a-block with enthusiasm and sociological riffing are what he does best.
At one point on the road, the group of students at the centre of Diary of the Dead, encounter an Amish man. Samuel, who is likely to become a fan favorite alongside of Bub, is deaf and mute - a not so subtle comment on the necessity of technology.  He communicates with the filmmakers by scribbling on a chalk slate, and gets the films most sublime visual moment echoing Dylan's Subterranean Homesick Blues video snippet amid raining zombie parts.  It may be 2007, but Romero is very much still the Flower Child.

The year is 2007 and judging by everyone ignorance, zombie movies do not exist.  Several paramedics, cops and more than a few newscasters are the first to witness the dead rising from the grave as bodies are carted out of a building from a double murder.  As they struggle with the undead, out of nowhere, one of the paramedics gives a zombie a standing high-kick to the head.  The scene is a funny tidbit of physical comedy amongst the horror of the situation which underscores Romero's particular style.  These folks are not necessarily the first witnesses to an unprecedented rise of the dead, but in Diary, the newscasters are the first to capture it on video, and by the philosophy of the film, that makes it the first 'real' instance.  That's right, the sociological target here is the media.  Not so much the traditional media, but new technology media:  the bloggers, You-Tubers and millions of amateur image gatherers and commenters that is the modern media landscape.

Cut to the voice-over of Debra, girlfriend to student director Jason outlining that what you are watching is her 'final cut' of footage gathered over the course of the beginning days of the zombie uprising.  The pair and a collection of friends, along with their very alcohol sodden University of Pittsburgh film professor are out shooting a horror film in the woods for a school project.  In a bit of Romero clearly taking to the audience (something this film has a propensity to do a bit too often for its own good), director Jason is quite adamant that the mummy should shamble and not run.  When they get the news that the dead is rising from the grave, there is a pretty healthy skepticism, but it scares the bunch enough to stop making their movie and head their separate ways.  Two head for the rich-boy family's mansion (a location which will come into the picture later on) and the rest of them hit the road in a Winnebago to find their way home.  

Jason is a wannabe documentary filmmaker who decides to keep the camera running over the course of their road trip.  This is done against vocal complaints from his fellow students who are both trying to process the apparent large-scale disaster and that it is becoming increasingly apparent that Jason has cast him self as a non-participant in many of the zombie encounters along the way.  Despite crumbing infrastructure, cellular phones and television stations (curiously the internet in the film never experiences outage), he argues that someone has to make a record of things.  The lengths Jason is willing to go for the sake of documenting things are best exemplified in a scene involving dead camera batteries where the action happens out of his reach, resulting in only hints of audio from down a corridor, as he is tethered by the power cord.

As the body count rises, the remaining survivors are more inclined to pick up cameras and start shooting too.  The flawed logic at work here is that when are behind the camera you are outside participation, somehow immune.  The on-paper pitch of the film invites inevitable comparisons to The Blair Witch Project which could not be more misleading.  While that film was ostensibly 'found' footage with the intent of myth-making, here the construction is very self-aware and edited with the intent (expressed by Debra in the film) of making myth breaking.  

The film is shot entirely as point of view, spliced images of the groups various camera footage, but also security tapes, cellular phone video capture. At times there are montages of video images reminiscent of Zack Snyder's opening credit sequence in his Dawn of the Dead remake (the best part of that film).  Despite many (irksome) expositional bits designed explain how the group got this piece of footage or that, Diary is still grounded in a traditional filmmaking, the handheld camera is not too shaky, the audio is clear and scenes for the most part are well lit.  Most tellingly, the black and white security camera footage has audio.  Romero wants to tell the story through all forms of video capture, but he is not obsessed with the realism of doing so, or caught up too far with style or visual flourishes.  The exceptions to this are some wickedly inventive zombie kills courtesy of maestro Greg Nicotero.  Perhaps Edgar Wright and Simon Pegg's influence has rubbed off on Romero a bit, as the film is more 'fun' than scary.  There are certainly no scenes equivalent a child devouring her father.

The only flaw in Diary of the Dead is that the allegory gets a little ham-fisted with Sarah's voice-over, drawing too much attention to things.  I think I preferred things in Night of the Living Dead, when the allegory was largely subconscious (Romero freely admits the much touted racial elements in the film were not pre-conceived).  The humour is bled out of a good joke when someone has to rigorously explain it, and the allegory here suffers occasionally due to this.  Also, Romero is clearly operating here with a safety net after the Land of the Dead debacle.  All 'amateurish' elements in this film, particularly underwritten characterizations (everyone is a cipher here) and middle-of-the-road acting can be written off as being the product of the amateur filmmakers who construct the film within the film.  All that aside, it's a fun little adventure (will it become a zombie classic in the veint of the original trilogy, I think not, but time will tell) that aims to entertain as much as anything else.

In a instance of life repeating art, when the film was finished unspooling and Romero appeared for a Q&A, video-cameras, cellphones and every other image capture device was whipped out from enthusiastic audience members determined to get their own fractured slice of history.

[Meho Krljic]

Nisam citao objasnjenja scena da ne spojlujem, ali ovo pre toga zvuci prilicno obecavajuce. LOTD me je prilicno razocarao, ali dajmo coveku sansu...

[Kunac]

BD REVIEW 3.5/5.0

It's crazy to me to think that George A. Romero is now on his fifth zombie film after creating the sub-genre back in 1968 with NIGHT OF THE LIVING DEAD. What's even more insane is that with each film - and nearly each decade - he finds something new to comment on. After LAND OF THE DEAD in 2005, who would have though that he'd find something significant once again so quick? Returning to his roots, DIARY OF THE DEAD is by far Romero's best film in nearly 20 years capturing a unique flavor that's been missing for years.

The film will follow a group of college students shooting a horror movie in the woods who stumble upon a real zombie uprising. When the onslaught begins, they seize the moment as any good film students would, capturing the undead in a "cinema verite" style that causes more than the usual production headaches.

After a miserable experience with Universal, Romero took the independent route once again. What's unique about DIARY is that it's a unique blend of THE BLAIR WITCH PROJECT and NIGHT OF THE LIVING DEAD. The film is a quasi-prequel that picks up with the first zombies coming to life. Footage on the internet and news display victims of a family murder returning from the dead and attacking paramedics and police. The epidemic is born. In a time where video blogging makes an average Joe more popular than CNN, Romero has one of his main characters pick up a camera and swear to document the events until the very end. His girlfriend intros the film as if she took her boyfriends footage and edited it together to tell "the truth", but who's truth are we watching? Who's vision are we watching? This is just one of the underlining contexts Romero brings to the plate.

Shot on various camera - including cell phones - DIARY feels very much like BLAIR WITCH as we are watching the found footage of our documenter. One major difference between the two is that DIARY looked phenomenal and was extremely well directed. -there was not a moment of motion sickness through the entire film. Another difference is that Romero had the lead narrate over the entire film, which to me one the single biggest flaw in the film. It was so incredibly annoying hearing her talk over the sequences and used as an anchor between scenes. No joke I thought I was watching TERMINATOR 2 at times, "Hi, I'm Sarah Conner... this is the apocalypse." Blah blah blah, just show the me the goddamn movie. I honestly think that Romero can re-edit the entire film without the narrator and it would be far superior. Another small problem with the film was the all-Canadian cast who struggled to keep their Pittsburgh accents and keep in character. They weren't "the acting killed the movie" bad, but enough to be annoyed at moments. I also think that there were a few very unrealistic moments written in the screenplay, specifically when the group of students stumble on a warehouse where the people inside so graciously gave them anything they needed.

Sans the small problems here and there, DIARY OF THE DEAD is a fantastically entertaining film. I loved a lot of the set ups (especially how the film opens), and the gore... oh the gore!!! The practical effects were mixed with some CG, but barely noticeable. The gun shots to the heads were mind-blowing (pun intended), and some of the zombie kills were off-the-wall amazing; we get zombies split in half by swords, heads melted by acid and some shot with arrows... and just wait until you see the zombie fish bowl (a pool filled with zombies!) The locations were also wonderful, especially the mansion and the hospital... this movie screams video game adaptation!

DIARY OF THE DEAD might be flawed but the fact that it's an independent film gives many of the problems a free ride. In the end this is Romero at his finest, a special little film that all fans will be pleasantly surprised with. The only thing better than a new Romero zombie film is seeing it with 1,200 screaming fans... hopefully we'll see this in a theater sometime in 2008.

[Kunac]

FANGORIA REVIEW 3.5 od 4


When George A. Romero first announced plans to scale himself back, returning to his low-budget, independent roots after the high-gloss horror of 2005's controversially studio-controlled LAND OF THE DEAD, true fans of the man rejoiced. When further details were revealed about the picture in question, however—promising first-person, pseudodocumentary camera antics—many of those very same fans promptly recoiled. On paper, the film read like a postmodern BLAIR WITCH PROJECT-esque stunt with Romero's flesheating ghouls thrown in simply to give the film commercial heft. Some even argued that the whole thing reeked of an aging genre filmmaker vainly attempting to prove that he still had something relevant to say.

How utterly, cosmically wrong those nervy naysayers were.

DIARY OF THE DEAD, which had its world premiere September 8 at the Toronto International Film Festival, is quite simply one of the most daring, hypnotic and absolutely vital horror films of the past decade. It is without a doubt the signature work of a man who, at the seasoned age of 67, has miraculously kept his long fingers squished squarely on the fevered pulse of the collective North American political and cultural psyche. It's also Romero's most profoundly personal, eccentric and accomplished work since 1979's landmark satirical zombie masterpiece DAWN OF THE DEAD, and in many ways feels like a stylistic kissing (biting?) cousin to his even more avant-garde 1977 vampire film MARTIN.
Ostensibly another reboot of the undead mythos the filmmaker established in 1968's NIGHT OF THE LIVING DEAD, DIARY casts a troupe of new-to-semi-pro young actors as film students who, after witnessing the zombie dawn while on a remote movie shoot, travel cross-country in their rickety Winnebago, hi-def camera in tow, documenting the entire apocalyptic mess while trying to avoid becoming undead hors d'oeuvres. The key visual gimmick is that lead voyeur and self-appointed director Jason (THE EXORCISM OF EMILY ROSE's Joshua Close) is rarely on screen, as his gawking lens is the one Romero chooses to follow. It's a bold experiment for the director, introducing such stylistic guerrilla tactics to his standard turf—but he makes it work, thanks to technically innovative storytelling (our heroes are supposedly the ones editing the movie we see, and thus splice in footage of themselves captured on existing security cameras) and liberal—perhaps sometimes too liberal—doses of the writer/director's trademark social criticism (this time, Romero's target is our desensitized, "live or Memorex" media-obsessed culture).

There's also a series of gleefully revolting, prosthetically created (by Gaslight Studios), CGI-goosed, blood-spattered money shots and some surprisingly broad laugh-out-loud humor. Watch out for the deaf-mute Amish farmer who scribbles on slates and gets very creative with a scythe. The performances by Shawn Roberts (who also appeared in LAND OF THE DEAD), Amy Lalonde and Michelle Morgan are effectively organic, and the film possesses a general low-tech eeriness, coupled with an aching sense of loss that sucks you in and keeps you glued to the screen.

Outlandish, expressionistic and absolutely, disorientingly alive, DIARY OF THE DEAD is the movie that Romero's legion of cultists—this critic included—have been screaming for: a fascinating, almost art-house railing against a mad, mad world. It's not the work of an old man, but of a cinematic enfant terrible with plenty of welled-up bile ready to spit on his would-be successors. Bon appetit.

[Ghoul]

pa dobro be bate, Z'ŠTO mu onda dade 3,5???!!! što ne 4?

[Shozo Hirono]

pa dobro be bate, Z'ŠTO mu onda dade 3,5???!!! što ne 4?

Pa to otprilike ko sto ti radis......cepidlacenje !!!

[Ghoul]

pa dobro be bate, Z'ŠTO mu onda dade 3,5???!!! što ne 4?

Pa to otprilike ko sto ti radis......cepidlacenje !!!

što jes - jes! ZORU ne mož da dobaci pa da jebe oca.
dakle, treba ostaviti bar neki luft do tog nedostižnog remek dela!

PS: inače, kao i obično, promakla ti je poenta: ja i kad 'cepidlačim' - dam neki RAZLOG što je moja ocena takva kakva je; a ovaj majmun gore, hvalio hvalio i samo hvalio, a na kraju, brojka i slova se ne poklapaju!

[Ghoul]

VARIETY mi je ogrejao dušu!

Scaling back the broad sweep of previous horror opus "Land of the Dead" and largely jettisoning the increasingly comedic possibilities of the concept in favor of pointed, impassioned social criticism and close-in genre thrills, gore's godfather audaciously and successfully reboots his incalculably influential zombie franchise as a lean, mean teen-survival machine in "George A. Romero's Diary of the Dead." Gripping, intimate genre triumph reps a not-insurmountable marketing challenge in the wake of "Land"'s larger canvas, with emphasis on college-age protags and their tech wizardry sure to inject the fan base with copious new blood.

(...)

If the actual body count is relatively low, Romero's inspiration level is sky-high; at 67, he's got his finger squarely on the pulse of the younger generation's facile relationship with media and technology. He's also brought his always healthy skepticism of broadcasting and government to the fore; it's giving nothing away to point to pic's sad, brutal coda as one of the most powerful antiwar statements since America invaded Iraq.

Pic also reps a watershed in Romero's direction of actors. As Debra, Morgan is easily the most swaggeringly self-confident heroine of any "Dead" adventure, while Lalonde does a terrific job balancing the humor inherent in her story arc with genuine fear.

Production values are precisely what they need to be. Other than some perfectly miked characters deep in the frame, illusion of pic being stitched together from vidcam footage, Internet video and surveillance cameras is entirely logical. Decision to massage good, old-fashioned latex with CGI splatter pays off in imaginative and startling gags, produced with Greg Nicotero, Gaslight Effects and Spin. Ontario locations stand in nicely once again for rural Pennsylvania.

How influential is Romero's work? Closing credit crawl gives special thanks to Romero pals, disciples and supporters Wes Craven, Guillermo del Toro, Simon Pegg, Stephen King, Quentin Tarantino and Tom Savini. They should be proud.

[Kunac]

Lepo je biti horor fan ovih dana. Dve legende žanra - Romero i Argento su - sudeći po prikazima - isporučili svoje najbolje filmove u poslednjih 20 godina! Ova činjenica je definitivno razlog za slavlje - još da im se pridružio o Carpenter s novim kvalitentnim naslovom, sreći ne bi bilo kraja.

[Shozo Hirono]

Pa redno je bilo da se oprave i stari lisci,i tako otprate masovnu histeriju uspeha svakojakih horora na box-officeu.

[Kunac]

Kompanija Weinstein je otkupila prava za DIARY of the DEAD.

The Hollywood Reporter mentioned that several offers were on the table for Diary, but Romero and crew went with the one that guaranteed a theatrical run which is awesome for him and the movie, but could be very iffy when it comes to Dimension. We'll keep positive and hope the Brothers Weinstein treat it with the respect it deserves.

Ovo je istovremeno i odlična i zabrinjavajuća vest. Weinsteinovi su u prošlosti - u okviru DIMENSION-a - znali da na najbolji način izdistrubiraju horor filmove (serijal Vrisak), ali su u poslednje vreme zaribali (poznato je da vole da otkupljene filmove mesecima, pa i godinama, drže na policama). Doduše, hrabri činjenica da su nedavno uspeli da proguraju onaj drek od HALLOWEEN rimejka...

[pilot babo]

još da im se pridružio o Carpenter s novim kvalitentnim naslovom, sreći ne bi bilo kraja.

Da. Još samo Karpenter... Dobro, i Kronenberg. Bar još njih dvojica...

Mi, horor fanovi smo uvek bili skromni.

[Kunac]

Dobro, i Kronenberg.

Cronenberg ima novi film. Samo što nije horror.  

[pilot babo]

Samo što nije horror.  

Ja, ja, na to sam i mislio!

[Kunac]

Dok sam odrastao, moja velika petorka su bili Carpenter, Cronenberg, Craven, Argento, Romero.  

CCCARevi!

Tokom godina, ova petorka je preko glave preturila sve i svašta, ali ja još uvek, bez obzira na razočarenja, s nestrpljenjem čekam sve njihove nove projekte.

Drago mi je da vidim da je George ponovo u sedlu i da ga "stara magija" nije napustila. Projekcije u Torontu su protekle toliko spektakularno da GAR najvljuje i mogućnost direktnog nastavka:

He tells us that IF the film is a success the Weinsteins will want him to write another one, which will begin directly after the conclusion to DIARY.

Ali, pre toga, GAR namerava da rimejkuje samog sebe:

Otherwise Romero explained that he doesn't really have any direct plans to go forth with the franchise right now and has other projects he'd rather be doing, like SEASON OF THE WITCH.

Izgleda da je starom liscu krenulo u životu... Bogme, zaslužio je!

[Ghoul]

Lepo je biti horor fan ovih dana. Dve legende žanra - Romero i Argento su - sudeći po prikazima - isporučili svoje najbolje filmove u poslednjih 20 godina! Ova činjenica je definitivno razlog za slavlje - još da im se pridružio o Carpenter s novim kvalitentnim naslovom, sreći ne bi bilo kraja.

pa da, to je JEDAN mogući način da se poluprazna čaša posmatra.

s druge, pak, strane, koji su oni zaista ODLIČAN film potpisali u poslednjih 20 godina s kojim bi se ovo sad poredilo? STENDAL? MAJMUNSKO LUDILO? 2 ZLA OKA? solidni filmi, ali ništa za preteranu radost. a i oni su stari 20-10 godina.
radost što nisu usrali motku, PONOVO, kao po pravilu u poslednjih 20 godina?
pa dobro, ok, super što se, kako izgleda, nisu usrali.

ali nijedan od njih – A NAROČITO NE ARĐENTO – nije niti dosegao staru slavu, a kamo li isporučio nešto što bi nadmašilo nekadašnja remek dela.
obojica uradili nastavke svojih davno začetih franšiza.
deal with it: to je ceđenje suve drenovine, manje (arđento) ili više (romero) uspešno, ali ipak samo to.
arđento simplifikovao, zaglupio i na uber-trash-splatter-crowdpleaser sveo ono što su mu bila 2 najbolja i najkomplexnija filma, a romero se po koznakoji put vratio zombijima, s tim što je ovog puta, izgleda, isporučio barem solidan (videćemo!) film.

ok, good for them, naročito u svetlu činjenice da neki ljudi u njihovim godinama više nemaju ni potpunu kontrolu nad svojim crevima, ali kao što već rekoh, sama činjenica što se A+R *nisu* usrali meni nije razlog za ushićenje, već sam više u stilu uzdaha olakšanja, ono kao, 'uh, dobro je, dekica se nije usrao, još uvek ne moram da mu kupujem pelene za odrasle!'

[Kunac]

Kada sam 90-tih otkrio Romera i Argenta njihove karijere su bile u stagnaciji. Doduše, neogledan film je za gledaoca nov film, tako da sam imao prilike da "preturam" po njihovoj filmskoj zaostavštini i pronalazim ono što mi se  dopada - a toga je, hvala Bogu, bilo dosta - nagomilalo tokom 60-tih, 70-tih i 80-tih . U nizu sam, za relativno kratko vreme, odgledao sve njihove najbolje naslove - i naravno bio oduševljen, oboren s nogu.

Ovako nešto više nije moguće.  

Da bih pogledao neodgledan Argentov/Romerov film moram dobro da čekam - čak i godinama. Kada se konačno pojavi novi film i ne bude remek, razočarenje je odmah iza ugla.

Ipak, ne treba gubiti iz vida a su A+R i ranije pravili (čak skandalozno) loše filmove - da je pre TAMNO CRVENOG Argento snimio PET DANA MILANA, da je Romero pre MARTINA svetu "podario" LUDAKE, itd.

Znači, uspona i padova je bilo i ranije, smo što se ranije više snimalo pa je mogućnost "pogotka" bila veća. Od 1990, Romero je, uključujući i najnoviji, režirao samo 4 naslova! To je baš malo, i smatram da se na tom uzorku ne može zaključiti da je čovek "prsao". S Argentom je već malo drugačije - on definitvno od 1987. godine i završetka rada na OPERI ima neke ozbiljne kreativne probleme, ali nikada nije - ni približno - skliznuo u staračku demenciju fulcijevskog tipa - da se pod stare dane bruka snimajući drek za drekom. Šest filmova koje je snimio od OPERE (a u ovu rečunicu se mogu uključiti i 1 TV film + 2 epizode MOH-a) su problematičnog kvaliteta - među njima svakako nema naslova koji može da parira INFERNU ili SUSPIRIjI - ali može se i tu iščeprkati nešto dobro - pa čak, na momente odlično.

[Tex Murphy]

Heh, ignorance is bliss, ponekad! Ja još nisam gledao nijedan Arđentov film (osim The Card Player i nije mi jasno zašto se to ne spominje među njegovim najgorim filmovima. Mislim, ako su ostali slabiji od tog, onda...) tako da me to tek čeka  

[ginger toxiqo 2 gafotas]

...tokom minule sedmice overio sam i jedinu nedostajuću mi kariku iz Romerovog opusa- HUNGRY WITCH a.k.a. SEASON OF THE WITCH i nakon uzimanja svih dijahronijsko-produkcionih olakšica u obzir, usuđujem se da ustvrdim da se u ovom slučaju radi o ne baš potrebnoj i nadahnjujućoj psihodeliji bez punog/pravog pokrića...

[Tex Murphy]

Brat mi je donio iz Švedske komplet od četiri DVD-a pod nazivom TRILOGY OF DEAD (Noć, Zora, Dan + disk sa nekim dodacima). Otišao sam na Amazon.com i vidim da tamo ljudi većinom kukaju, kažu umjesto originalne verzije Noći tu je neka remasterovana koja ne valja klincu. Objasnite mi koja je razlika između stare i nove verzije i da li je ta nova stvarno negledljiva.

[Kunac]

Objasnite mi koja je razlika između stare i nove verzije i da li je ta nova stvarno negledljiva.

Sve to možeš bez  problema da nađeš na netu, ali ti si lenj. ccccc. 'ajde, nek' ti bude...  
razlika je u tome što remasterovana verzija sadrži naknadno dosnimljene scene s kojima romero nema ništa i koje su usnimljene decenijama kasnije. kao dodatna uvreda, neke od scena koje je romero snimio su izbačene.

detaljnije:

The 30th Anniversary Edition from Anchor Bay Entertainment removes 15 minutes of footage from the original film and inserts 15 minutes of new footage shot especially for this edition. George A. Romero was not involved with this version. The newly-shot scenes include the following:
A new opening sequence in which two graveyard workers bring the body of an executed child murderer to the cemetery. The parents of the murdered child are waiting at the cemetery, along with a priest, to view the murderer's body before it is buried. Before the body can be buried, it returns to life and begins attacking the group. This is the same zombie who is later seen wandering the cemetery and attacking Barbra and Johnny.
A scene where the victims of a recent car accident return to life as zombies. Three of the car's occupants, a mother and two daughters, return to life and begin wandering down the street, while the fourth victim, the father, is eaten by another group of zombies who come across the accident. One of the prominent zombies during this scene is a one-armed waitress zombie, who appears again later.
A few brief new shots of zombies wandering around outside the farm house, including the waitress zombie and the mother and daughters from the car accident scene.
A new scene where the priest from the beginning of this version of the film is interviewed by a TV reporter while local townspeople are hunting zombies in the background. During the interview, the priest is attacked by a zombie and bitten on the cheek.
A new ending sequence in which the TV reporter goes to a medical center to visit the priest, who has survived his zombie attack. The priest claims that the reason he did not become one of the undead is because he was been chosen by God. He continues by saying that the zombies are actually demons from hell, occupying human bodies, and that all dead bodies should be crucified. The TV reporter becomes frightened by the priest's ramblings and leaves the room. This release of the film is controversial among fans, and should not be considered the definitive version of the film.

pomenuuta verzija je abominacija i treba uništiti sve kopije iste.

[Tex Murphy]

pomenuuta verzija je abominacija i treba uništiti sve kopije iste

Svoju kopiju ću da branim vlastitim životom.

[Kunac]

pomenuuta verzija je abominacija i treba uništiti sve kopije iste

Svoju kopiju ću da branim vlastitim životom.

SADA! NE RAZMISLJAJ! JUST DO IT! UNIŠTI!

[taurus-jor]

Polij benzinom i spali. Na sigurnoj udaljenosti od kuche. Ne zelish da zbog tog sranja nastrada i tvoja okolina.

[crippled_avenger]

Quint puts a bullet in the head of George Romero's DIARY OF THE DEAD!!!
Ahoy, squirts! Quint here. When I first heard the concept of George A. Romero's DIARY OF THE DEAD I wasn't exactly taken with it. The pitch line was BLAIR WITCH meets NIGHT OF THE LIVING DEAD and that didn't sound at all interesting to me.

However it was George Romero and he's earned a lot of trust when it comes to Zombie movies. I wasn't sold, but I kept my faith in Romero's vision.

The film opens with some raw news footage, what is widely regarded as the first footage capturing the zombie outbreak. It's one camera with a newscaster preparing her report. You hear the cameraman as they go over what the report is going to look like. They're covering an apparent murder in a rather poor apartment complex.

How we're introduced to the plague set my mind at ease. This was not only creepy, but really smartly executed. The opening made me sigh with relief. It captured exactly what they were going for with this updated introduction into a somewhat parallel Romero world. The way we see the outbreak in the film is just the way we'd see it now, either on TV or through the web.

Thank God, I thought. But then the rest of the movie started.

We're introduced to our main characters shooting a mummy movie on video in the woods near their campus. It was about the first couple of times they winked at the camera going, "Man... we're sure in a Romero zombie movie, aren't we?" that the fear came creeping back.

Yes, it's cute to hear them joke about how the mummy is moving too fast and that dead things move slow. I get it. I can even forgive it because it sets up a good situation later, however they even bungle that.

What I was most disappointed with was the lack of any sort of subtlty or layering. Romero's movies have always had a great subtext, be it satirizing consumerism in DAWN or racism in NIGHT. Here there is no subtext. Just text.

It's not a cryptic line, "They're us." It's multiple people staring into the camera blatantly talking about our need for pure information, untainted by the commercial network news spin.

I saw a movie a couple years ago at the American Film Market that I was really excited to see. It was the new Dario Argento movie and it was called THE CARD DEALER. I walked out of that movie extremely worked up. It was horrible and even worse, it didn't feel like an Argento movie. It maybe felt a little bit like someone trying to ape an Argento movie or mimic an Argento movie, but that only made it more upsetting.

I feel very much the same feeling about DIARY OF THE DEAD. It feels like someone trying to make a George Romero movie. "Hey, I got a message! Let's slap it on there! Hey, let's homage Romero's early work and talk about how slow the dead would be!"

I think one of Romero's strongest traits as a filmmaker is who he picks to be the focus of his films. I love every one of the characters in the house in NIGHT. Such great, layered work there. Same with DAWN. The group is perfectly fitted with each other. Flyboy is plain as hell, but he has a nice arc and he's off-set by Roger. Even in DAY OF THE DEAD you have a bug-fuck crazy bad guy and tons of interesting and colorful characters, not the least of which is Bub, the zombie.

The college kids that are the focus of this movie are completely uninteresting. They're as clichéd as can be, the choices they make defy all logic and, worse of all, they're just dull. It's a bunch of Flyboys without a Roger.

What's even sadder is we are introduced to a few characters that are actually really interesting as our RV full of retarded, self-important college douchebags drives the backroads.

My favorite character in the film was Samuel, a deaf Amish man who is particularly old school in taking out zombies. But he's only in the movie for 4 minutes. If I was King of All Movies, I'd grant Romero a budget to just make a movie about Samuel surviving the zombie plague. How great is that? A mute dude who refuses to use any of the benefits of technology to survive a zombie uprising? How badass is that?

But, no... we have to get a few more tearful "I have to record this instead of helping because it becomes real when I put the camera down and I can't let that happen!" to the camera.

Then we meet the leader of a Black militia that goes against any sort of stereotype you'd expect. Again, a nice Romero twist on things and the other interesting character in the movie. And again, he doesn't get much screentime.

The whole idea of seeing this only through footage is an interesting one, but at the same time it still just boils down to a gimmick, which is fine, but a gimmick needs strong character work and good actors to make it more than that.

The acting is bad throughout, particularly in the leads. There's even one girl who is playing a Texan... yee-haws and all... Her accent drops throughout the movie and that wouldn't have really been a big deal if her character was at all interesting.

Listen, I'm happy Romero sold the movie to the Weinsteins and I'm also happy that my disappointment in the movie doesn't seem to be the common opinion if the reviews out of Toronto are any indication. I don't like feeling this disappointed by a Romero film and I wish I could give myself over to this one like many others have, but it just didn't work for me.

Maybe with the success of this film Romero will keep getting to make movies the way he wants to make them and he'll pop out some great indie work in the coming years. I certainly don't think he's lost his touch, I just think he made a misstep with this one.

-Quint

[Kunac]

George Romero's DIARY OF THE DEAD is a Fantastic start to FANTASTIC FEST - so says Harry!

I've known Quint since he was literally a child. I'm very proud of the man he's become, but after reading his review of George Romero's DIARY OF THE DEAD... I am left absolutely flabbergasted. Rather than dissect his review and point out several catty remarks I can make about his piece... I'm just going to give you my take.

I've seen DIARY OF THE DEAD six times now. I love the film completely. Here's why...

George does something so incredibly daring, something so far fetched in the minds of his fans - that it causes some to freak the fuck out. He has made a Zombie film that dares to act as though George Romero never existed. Imagine that.

Can you?

I mean, if that meteor that knocked hell out of Peru last week, making all those people sick in that village. Imagine that we began hearing reports that the villagers dying were coming back to life and attacking the living - and that an undead plague was spreading throughout South America and threatening our borders. The first thing that every Zombie-fearing geek in the world would say is, "Shoot em in the Head!"

In George's DIARY OF THE DEAD... the characters discover the rules, the completely unfair rules, as though not only none of George's films were made, but all the zombie films that came in his wake. So - these kids that apparently were reared without Romero's influence. That, in and of itself is a horrific existence. But to then find yourself dealing with his world... fresh and happening for the first time, not just in reality - but with no fictional precedent... these kids react. And they do each react differently.

There was one line in Quint's review that actually irked me. "our RV full of retarded, self-important college douche bags." Well, as someone with over 112 hours of college credit - and knowing quite a lot of college types... I actually take offense at the statement. I've dealt for the past 11 years with young film school types... budding directors, producers, actors and actresses that were attending the many colleges here in the Austin area - and they are often frankly "the cliché" - It isn't that they're self-important - it is that the entire experience of college is about figuring out what that path of life will mean, what your days and nights will be spent doing. As a result, a lot of college students are very self-reflective. Hit a college coffee house and you'll see that.

The characters that Romero populates in his RV are not college douche bags. These are not kids that see the zombie Armageddon as a new excuse of elevated hazings. These kids are not obsessing about their bodily functions. They're also not hammering on about how this got out of hand because Bush is a fucking 'tard. No. These are all kids from the film department. The one shooting this... sees this as a significant opportunity to document the world turned upside down. He wanted to be a documentarian, but through film school had decided the only way to get noticed was to shoot a horror movie, but then the reality around him becomes... horrific.
The other characters... well they're annoyed by him.

His girlfriend goes into crisis mode. It's about being with her family.. her mom, dad and kid brother. She strikes me as someone that just wasn't hacking film school and when this came down... she was ready and willing to run home to mom and dad.

The driver of the RV is a lost soul. She's a loving girl that simply isn't meant for the return of the dead.

The geek aboard is an information junkie, figuring to get a ride home as well, but ultimately he's just freaking out because he's seeing everything he became dependant upon fall apart. The networks, the main stream... over the course of the few days they're on the road... it's all gone bad. He's hoping to find the right place to hole up, with some comforts and wait it out.

Then there's the couple in love. They're just regular good people caught in something they don't really have a handle on. Anything they had in mind seems to be gone and they're faced with very tough times ahead.

Then there's the guy that seems to be the most involved with butting heads with the filmmaker. He's the other director in the group - who is working on this project to probably steal crew for something of his own later on. It isn't really developed, but I get the impression he's sweet on the lead's girl and is waiting for him to just drop that ball.

Lastly you have the professor on board. He's the most theatrical of all the characters in the film. A tired depressed older character that can't, so he teaches - and he hates it. He accepts the horrors that the world throws at him as if they're the most natural thing in the world. Of course his hell imprisoning him to teach snotty would be filmmakers would only further manifest itself with hell walking the earth as he is literally DAMNED to spend his remaining days here.

THAT's how I interpret the "RV of college douche bags"

Meanwhile - I love the subtexts of the film and in many ways, it's probably the most personally reflective of myself.

I don't plan on having to deal with a zombie Armageddon. I think it's mostly unlikely. However, I do know a little bit about dealing with doom through projecting to a faceless audience.

I created AICN whilst facing paralysis and praying for reanimation. I watched my dead legs in my bed praying to see them come back to life, and with zero intention to shoot the big toe. I wrote about film, because film is what made me happy. It took my mind off the big toe. It gave me a place in the world of my mind. It allowed me to feel like I was in a place larger than the oversized closet space I was spending my existence.

Sharing the information I was gathering with all of you shook me out of the depression that my world was at that point. The internet was everything, the letters from readers, filmmakers... all of you, it saved my life. And I love it more today than I ever have. If I woke up one day without the bitching and the moaning, it'd be a sad day indeed.

Being noticed, debated, discussed. It is a powerful drug. It's why the famous do their thing, more than the money, it's the feeling of counting... of doing something worthy of notice.

And in DIARY OF THE DEAD - as the world gets more and more insane. As they face impossibly fucked up situations - they all begin to buy into the significance of that camera. The camera is the illusion of normality that the world dives into when it's gone insane.

OJ makes sense to talk about because killing 700,000 civilians really doesn't. And while the mainstream masturbates about meaningless opinions and bullshit analysts - the soldiers and the students are posting the history of the times we live in... that some day will be gathered and tabulated as being the reality that we're living in. Not Britney or Paris or Mandy or whatever other bullshit meaningless celebrity drivel the news media shoves down our throats.

The underlying message of the film is a conflict. Should we film Rome burn, should we watch Rome burn, do we grab a water bucket... or is it too late to do anything at all. The film is a treatise on how George as an old tired man... is left watching the tragedies of his youth repeating, just as artistically he began with the zombies, here... 40 years later... the zombies are left reflecting the world he sees around him.

Add to that - some amazingly cool zombie gags, great bit characters - and perhaps a dozen additional themes that you could swill down pitchers of coffee chatting about, like a self-important college douche bag.

I love DIARY OF THE DEAD - it is everything that I hoped for from Romero... a new theme, a new horror - but with my beloved zombies. BRAVO!

[Kunac]

BD javlja da je Čiči krenulo u životu:

After Universal released George A. Romero's Land of the Dead in theaters in 2005 Romero scooped B-D that he would we working on a sequel entitled "World of the Dead", which never came to fruition. Now with Dimension Films planning a theatrical release for Diary of the Dead (review) - Romero's independent zombie film - we've were informed that the legendary director is already hard at work on a sequel here and that he would begin work on it if "Diary" was a success - and it was. SO guess what we have? The SYNOPSIS for George A. Romero's Untitled Diary of the Dead Sequel! Read on for details.

UNTITLED GEORGE A. ROMERO DIARY OF THE DEAD SEQUEL
Principal photography begins March 2008.

To be written directed by George A. Romero.
Cast to be announced.

The "diary" saga continues. Our heroes, trapped in the mansion where we left them, battle waves of ravenous zombies, barely escaping alive. In search of a safe place to settle, they commandeer an abandoned ferry and sail to a deserted island, only to find that it is already populated by a civilization of the dead. Told in the same first-person style that distinguished "George A. Romero's Diary of the Dead", the next episode of the saga is a violent siege set in the middle of nowhere, a desperate struggle for survival, and peace, between two tribes: the living and the living dead.

[Plissken]

Dosta vise zaboga...

Treba zabraniti zombi filmove.

[PTY]

jokbremore!

samo Romera treba zabranit, **bo i' Romero da i' *ebo!!

                                                         

((okej, ko bi sad da me bije, nek mi se obrati pi-emom...))

[Plissken]

jasta vala...

[Ghoul]

(okej, ko bi sad da me bije, nek mi se obrati pi-emom...))

reci mesto i vreme!  

[PTY]

Nema problema: ako mi sad i ovde garantuješ da si preboleo nekog tamo Romera od pre dvajes'&tries'&ohoho godina i ako mi dokažeš da si skontao kako je čovek prevaziđen i prestignut - a svejedno oćeš da se zbogporadinjega biješ – detalji - glede gde & kako – ti slede.  

[Ghoul]

ma meni je samo važno da se negde nađemo i pobijemo, nije bitno oko čega.
romero je samo alibi.
ionako ne ludim za njegovim levičarskim idejama i 'kritikama' društva itd.
mada, za DAWN sam još uvek u stanju da se pobijem, ako nema druge.