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Dawn of the Dead 2004 |
Review by Jonathan Cornwell |
Directed by Zack Snyder
R, 100 min. (pervasive strong horror violence/gore, language) |
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Starring: Sarah Polley, Ving Rhames, Jake Weber, Mekhi Phifer, Ty Burrell, Michael Kelly, Kevin Zegers, Lindy Booth
Producers: Marc Abraham, Eric Newman, Richard Rubinstein
Screenplay: James Gunn
Cinematography: Matthew F. Leonetti
Distributor: Universal Pictures
Released: 3.19.04 (Wide) |
Rating:
  (out of ) |
The horror film sub-genre - the zombie flick - has made quite a comeback within the last year. With the highly stylized
28 Days Later and now Dawn of the Dead (a remake of the 1979 cult classic), the genre has once again found its stride.
Admittedly, this type of film has a polarized audience - many wouldn't think of subjecting themselves to the copious amount
of blood, gore, and violence on display here - but for those who enjoy this distinctive form of entertainment, this film satisfies.
Despite its similarities to the original, the current version of Dawn of the Dead carves out its own path, focusing more
on the characters' intense desire to escape their hellish predicament. The 1979 version had more to say about cultural
issues (zombie-like consumers, etc.) and had a sharp wit throughout, and, though this new version has some bite of its
own to be sure, was more thought-provoking in relation to society. Regardless of its intended stance, this film succeeds
on its weight.
The story centers on a group of survivors who band together to fight off and escape the clutches of a mysterious virus that
turns its victims into zombies who wildly pursue anyone who is still unaffected by it (why these zombies really care who
is infected or not is not quite clear, but I guess that's being too picky considering the material). This band of individuals,
which lock themselves in a local mall, consists of a nurse, Ana (Sarah Polley), a head-strong cop, Kenneth (Ving Rhames),
life underachiever Michael (Jake Weber), an expecting couple, Andre (Mekhi Phifer) and Luda (Inna Korobkina),
three security guards (Michael Kelly, Kevin Zegers, Michael Barry), a rich malcontent, Steve (Ty Burrell), siren Monica (Kim Poirier),
a father and daughter (Matt Frewer and Lindy Booth), and a few other potential victims for the screenplay. Soon they realize
that the virus must be widespread because of the lack of any search parties, and they begin to devise an escape plan, which would
see them safe from the infected on an island. But, of course, their plans are interrupted by unforeseen events, forcing
them to run and shoot their way through the throngs of thousands of bloodthirsty zombies.
The film effectiveness comes from its perspective of the events. The viewer is given very little in the way of broad perspective
on the virus or any possible solutions, much like the survivors must view things. The objective here is to simply survive. The audience is shoe-horned into the band's
viewpoint, thus making their actions and fears all the more believable. Director Zack Snyder keeps things well-paced and
appropriately scary, as the zombies will soon have their way if action isn't taken. Even the various subplots involving the
characters (Andre and Luda's unborn child, the father and daughter dilemma, and the security guards' change of heart)
are worthwhile because they deal directly with the threat at hand. And when the survivors finally make their charge into the heart
of danger, we're right there with them for every agonizing moment.
The zombies in this film are also much more frightening than in most similar films because they are a true threat to the
survivors. They are eerily quick and much faster than the original film's turtle-like speed, and also exhibit an unsettling
anger and aggressiveness that enhances their frenetic demeanor. As expected, the blood and gore is excessive to the point
of overkill, but again that's a staple of the genre and something that fans demand to see. Since the zombies can only be
killed by a shot to the head, its obvious things are going to get messy.
Dawn of the Dead also has an interesting conclusion that only patient viewers will catch - this isn't a movie you want to
leave right at the beginning of the end credits. Although the apparent conclusion signifies a Hollywood-like ending, the
ensuing end credits tell a different story, making for a much darker resolution to the preceedings. For most fans of the genre,
this film delivers the goods.
© 2004 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
| Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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