DAWN OF THE DEAD
Unrated Director's Cut
Review by Gordon Justesen
Sarah Polley, Ving Rhames, Jake Weber, Mekhi Phifer
Director: Zack Snyder
Audio: Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1
Video: Anamorphic Widescreen 2.35:1
Features: See Review
Length: 110 Minutes
Release Date: October 26, 2004
these people alive or dead?"
In the last year
alone, there have been two high profile remakes of two of the most definitive
horror films of the 1970s. First was the updating of Tobe Hooper's The
Texas Chainsaw Massacre, and now comes a new take on George A. Romero's
forever classic, Dawn of the Dead. While I didn't find the remake of The
Texas Chainsaw Massacre too much enthralling or exciting, I immediately
found the update of Dawn of the Dead to be quite a pleasant surprise.
For a remake of a
great film, it does a terrific job of not damaging the memory of its original
material source. Unlike the TCM
remake, which feels a bit by the numbers along with the spiced up technical
aspects, this re-imagining of the zombie classic from first time director Zack
Snyder has more bite than you'd might expect. There is much gore-galore, fast
paced action, but at the same time the film has given a good amount of attention
to its characters.
Set in the town of
Everett, Wisconsin, the story involves, of course, a deadly plague that is
spreading slowly but surely, turning ordinary people into flesh eating zombies.
The first to take notice of the horrific events is Ana (Sarah Polley), a
hospital nurse who manages to avoid being bitten by her husband, and a
neighborhood girl, only to crash her car into a tree while fleeing an area
plagued by both the dead, and extremely paranoid survivors.
Ana then wakes up
to come across a group of survivors who seem to be escaping the very same
horrific matter. Tough-as-nails cop Kenneth (Ving Rhames) helps Ana to her feet.
The two then come across two other human drifters, Michael (Jake Weber) and
Andre (Mekhi Phifer), along with Andre's pregnant wife. After momentary scouting
for an area of possible refuge, the group of five soon come across Cross Roads
Mall, which appears to be safely abandoned.
It is here where
the band of survivors come across another group of survivors, an untrusting trio
of mall security guards led by CJ (Michael Kelly), who immediately doesn't take
any chances with the new bunch. Fear of one another plays an important role at
first, but the two groups soon put it aside to face off with their primary foe,
which seems to grow increasingly by the minute outside the mall's locked doors.
I can already
predict that director Zack Snyder is going to have a nice future in the
business, and he so deserves it. The visuals he creates in Dawn of the Dead play a big part in the movie's strengths. Snyder's
handling of the mall setting, especially in a chilling sequence set in a parking
garage, demonstrates that he has a knack for atmosphere.
Like in 28
Days Later, the zombies in this film are able to run at high speeds, as
opposed the ones in Romero's film, which lurched around slowly and allowed the
human characters to run around them in order to get away. About the last half of
the movie is essentially a nonstop shooting machine, and in this case I mean
that in a good way. Zombies are killed off in the most outrageous ways I've ever
seen. And as an added bonus, there's a jaw dropping scene that perfectly
demonstrates why a chainsaw should never be used inside a moving vehicle.
As I mentioned
earlier, another strong element in this version are the characters, which go way
beyond the stock characters we've come to expect in just about every single
horror movie that comes along. Horror movies are always more effective when this
method is applied. 28 Days Later and Identity
are such examples, and the 2004 Dawn of
the Dead can be added to the list. If anything, the adapted screenplay by
James Gunn deserves a lot of credit for that.
admired the scenes between Sarah Polley and Jake Weber. The film hints at a
possible love fling between Michael and Ana, but the movie is a lot smarter than
that. Because of this, their scenes are much more effective and the way they
feel about one another is conveyed perfectly in the film's final moments. I also
appreciated the introduction of the character of Andy, the owner of a gun shop
across from the mall who communicates with Kenneth on the rooftop through
written messages. That whole scenario was a very nice touch.
I would like to
point out that this film has completely reinvented the use of opening and
closing credit sequences. This film is book ended by credit sequences that
really deserve an award of some sort. I know for sure that the late great credit
sequence master Saul Bass (Se7en)
would've been proud of what was done had he been here to witness it. The fact
that the music of the late Johnny Cash finds its way onto this sequence is
amazing beyond words. His song "When the Man Comes Around" fits this
movie in a way I'd never thought possible.
And when the
closing credits appear, all I can say is do not dare switch the movie off.
The way to properly
look at this version of Dawn of the Dead
is that of a technical reinvention. When George Romero's film was made in 1978,
it was an independent production that could only deliver so much in terms of its
budget. Romero had another strength going for him, which was the underlying
social commentary involving society's insanity driven by consumerism, so that
was no doubt the focus of the film.
While the 2004
version can never surpass the overall quality of the original, I will give it a
strong amount of credit for delivering a close enough impact. It is certainly
one of the more satisfying horror releases in quite some time, mixing enough
gore, style, and humor to make for a most memorable cinematic joyride.
BONUS TRIVIA: Look
closely, and you'll spot several cast mates of the original Dawn
of the Dead, including Ken Foree, Scott H. Reiniger and Tom Savini, in small
Foree, who appears as a televangelist, happens to utter his famous line from the
original film, "When there's no more room in hell, the dead will walk the
an absolutely stunning presentation of this visual feast of a movie. The
picture, even in the midst of being shot in mostly dark settings (once confined
to the inside of the mall) is consistently clear and well rendered in every
possible way. You can tell that the production was aiming for a moody look to
match the sheer terror of the movie, and it was clearly accomplished. Those
credit sequences are especially effective in appearance and make the viewing
more memorable as a result. A pure one hundred percent knockout presentation,
all the way! A full screen version is also available, but as always--this one is
the version to obtain.
Just how good and
well defined is the 5.1 mix on this disc. Let me put it this way, there were
several times I had adjust the volume to a low level just to avoid possible
complaints from neighbors. This is a loud one, baby, so be prepared. It's also
one of the true best sounding discs to come out this year. Every technical
aspect in the sound department, via gunfire, zombie grunts, other forms of
action and especially music deliver their share in this stunningly superb piece
of sound courtesy of Universal. Don't be surprised if you need a moment to rest
after watching it.
a well completed package. This Unrated Director's cut features nearly ten
minutes of new footage (and a whole lotta extra blood and guts, I assure you).
In addition, there are some kicking extras fit for the zombie in you. There's a
commentary track with director Zack Snyder and producer Eric Newman, over 12
minutes of deleted scenes with optional director commentary, and two neat added
bonuses; a 15 minute "home movie" featuring the character of Andy and
documenting his final moments while eluding the zombies in and around his store,
and a "Special Report" on the growing chaos!
Also featured are
some extras made exclusive for this Unrated Director's Cut DVD. They are three
in-depth featurettes, each of which revolving around the creation of the film's
zombies; "Splitting Headaches: Anatomy of Exploding Heads",
"Raising the Dead" and "Attack of the Living Dead".