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.
To me, one of the true masterpieces of cinema. So rhythmic-musical-atmospheric, so balanced (structurally and tonally, between action and dialogue, praxis and theory, humor and graveness, horror and sentiment, feeling and attitude and intelligence). Horror is to be ripped apart by a zombie, indeed, but so is to live in a multiplicity of narrow-mindedness.
Not as good as the second one, but it had really interesting themes and characters... is just that, it lacks the social sattire, or even a strong and memorable main character. Good effects, some music from the beggining is memorable, but that cheesy 80's music at the end just, ugh. It is worth the watch, but it could have been better. Gotta love Bub.
Terzo capitolo di Romero,un gradino sotto Zombi,ma cmq di alto livello.Ormai il mondo ha perso,l'edonismo di Reagan e della Thatcher ci ha colonizzati e ci ha reso tutti zombie,ridotti solo a consumare e a non rompere i coglioni a chi ci governa e sottomette.Qui lo zombie ormai stà prendendo coscienza di sè e in alcuni casi(vedi i militari) è preferibile all'essere umano.Fantastico il saluto di Bub alla fine.4*
Society collapsing is scary. Nobody being left is scary. The people you're trapped with are crazy is scary. But whats really scary, is that we live in a world that can be so easily disposed of. As the film cites we are just paper trails and names on sheets of paper in a binder left underground at the end of the world. We can all slip into nothing and this film questions what documenting a life really means.
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.
Day of the Dead falters on the basis that its doesn't have the sense of urgency the others do. However it has probably the darkest implications of any of the dead films with the humans degeneration and eventually becoming less humane than the zombies. Some Criticize the films atmosphere as being dull but I strongly disagree I love sort of sterile coldness of the bunker. Must see.
If you didn't get what Romero was getting at in his prior commentaries on human nature, he hits you over the head with it in this one. A bleak, uncompromising horror film, and offers the bleakest outlook of any in the series (except for possibly the grisly ending of 'Diary'). There are plenty of elements that don't work as well as 'Night' or 'Dawn', but the parts that DO work do so to the most chilling effect.
Suffers from shouty performances, an eighties-ass score in the worst way possible, and a threadbare plot - even for Romero. The gore FX are of course first-rate: the montage at the end of zombies just chowing down is pretty queasy, as is the horrific stretched-vocal chords gag. It's not awful, but the limits of Romero's zombie story (and it is pretty much one story, across different films) were showing even in '85.
It's cheesy and sometimes obvious, but damn if this rendering of the end of the world doesn't speak to me. The cold dead walls of the bunker and the fractioning of the family unit, of the human spirit, of our fleeting self-satisfied dominion over death, and a final, blissful exile on an island refuge - it's a very poetic film with characters who are stereotyped but not two-dimensional. A personal film to me. Perfect.