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6/19/2025, 9:35:40 AM
>>211656130
The big thing is it's just kind of a dumb movie. The whole premise is ridiculous, and the class critique it attempts falls flat. That wealth is this valuable in a post apocalyptic society is absurd, and things like John Leguizamo's character trying to pull off a heist to steal $5 million doesn't even make any sense, because where the is he going to go? They mention there being an outpost they haven't heard from recently at one point in the film, but that's it. There's no guarantee that any other community they find will even use paper currency. Dawn has a similarly unsubtle critique of consumerism, and that none of this shit really matters, that actually makes sense in the context of the film.
It's also the least "Romero" Romero movie I have ever seen. Whole thing just looks and feels odd if you have seen any of his other stuff.
I did kind of like the retarded guy who was a master marksman, and the big death truck they had was pretty cool I guess
>>211664813
Of course it was intentional. Romero isn't a subtle writer, see Land and Diary.
>>211665261
Both Dawn and Day suggested zombies could remember parts of their lives from when they were living, with Dawn suggesting that the zombies fall back into the routines that had when living.
>Night of the Living Dead was not meant to be political and he said he cast a black man as the lead because he was the best man he could find for the role
This is true, but a lot of the dialogue in Night was improvised or rewritten by the actors. Most of Ben's character came from Duane Jones. Romero had originally written him as a more uneducated blue collar type of guy. The ending was also something Jones pushed for
>I convinced George that the Black community would rather see me dead than saved, after all that had gone on, in a corny and symbolically confusing way. The heroes never die in American movies. The jolt of that, and the double jolt of the hero being Black seemed like a double-barreled whammy.
The big thing is it's just kind of a dumb movie. The whole premise is ridiculous, and the class critique it attempts falls flat. That wealth is this valuable in a post apocalyptic society is absurd, and things like John Leguizamo's character trying to pull off a heist to steal $5 million doesn't even make any sense, because where the is he going to go? They mention there being an outpost they haven't heard from recently at one point in the film, but that's it. There's no guarantee that any other community they find will even use paper currency. Dawn has a similarly unsubtle critique of consumerism, and that none of this shit really matters, that actually makes sense in the context of the film.
It's also the least "Romero" Romero movie I have ever seen. Whole thing just looks and feels odd if you have seen any of his other stuff.
I did kind of like the retarded guy who was a master marksman, and the big death truck they had was pretty cool I guess
>>211664813
Of course it was intentional. Romero isn't a subtle writer, see Land and Diary.
>>211665261
Both Dawn and Day suggested zombies could remember parts of their lives from when they were living, with Dawn suggesting that the zombies fall back into the routines that had when living.
>Night of the Living Dead was not meant to be political and he said he cast a black man as the lead because he was the best man he could find for the role
This is true, but a lot of the dialogue in Night was improvised or rewritten by the actors. Most of Ben's character came from Duane Jones. Romero had originally written him as a more uneducated blue collar type of guy. The ending was also something Jones pushed for
>I convinced George that the Black community would rather see me dead than saved, after all that had gone on, in a corny and symbolically confusing way. The heroes never die in American movies. The jolt of that, and the double jolt of the hero being Black seemed like a double-barreled whammy.
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