Hammy acting, with an EC Comics-vibe, but these exaggerations make it maybe the bleakest, most uncompromising dystopian film ever. Its very setting/concept enhances every glaring threat by Pilato, each sexual overture by the soldiers, as so inhuman, that it can only be the product of humanity on its psychological tether. It's a void in which a final scene of happiness is even a false comfort of bleak circumstance.
Every era gets its own Dead: Night was a metaphor for the chaos of '68, Dawn a metaphor for consumerism, and Day a plague-on-both-your-houses tale about society unable to unite. It's less inspired—Romero is better with concepts than characters—and the weird, contradictory tones that Dawn held together nearly come apart. But it's got some fire...unreconstructed 60s liberalism chucked into the heart of the Reagan era.
Despite of its criticism and the interesting sci-fi premise, the third of the Dead series is almost ruined by its annoying and clichéd characters. Luckily, Romero redeemed himself in the last 20 minutes when the movie gets delightfully wilder and gorier– Savini's make-up work here is flawless.
Marvellous antimilitarist and antiscientific fable. While brother Bub looks like the Neanderthal Man learning to make fire, Capt. Rhodes and Frankenstein are perfect examples of members of a decadent modern society. At the end, the survivors choose to come back to a Carribean Eden and abandon the living dead who, undoubtedly, will submit to Charles Darwin's law of evolution. Or not. Masterpiece.
This is probably the most underrated of Romero's Dead films. Just as Dawn was a social commentary on consumerism and greed, this film is a social commentary on the heightened military presence and the fear of annihilation. The zombies are more stable than the people. Romero really should have been the person to make The Walking Dead.