The latest Night of the Living Dead, aka Night of the Rising Dead, directed by Christopher Douglas-Olen Ray, produced by Fred Olen Ray and scripted by Jared Cohn, is a fun, unpretentious offering, which doesn't try to retell George A. Romero and John A. Russo's zombie classic with precision, but rather supplies a sideline, alternate view of the flesh-feasting events featured in it.
The story starts during dusk at Beekman's Diner (referenced by Duane Jones' Ben in the 1968 version), where an infected employee spreads the disease. (The sequence is energetic and gruesome and, therefore, in synch with the menacing mythology.)
The spirited Vivica A. Fox's Ellie becomes this tale's surrogate Ben, teaming with Brittney Underwood's Barbara (who does a swell job channeling Judith O'Dea, not only in appearance, but in the way she runs). The two are soon joined by Tom (writer Cohn), Judy (Eva Ceja), Harry (Richard Gabi), Helen (Jon Mack) and little Karen (Emily Rose Hitt). Together they deliver the heated exchanges one would expect.
The late, great Robert Carradine portrays Bill Cardille, the sporadic, "Chilly Billy" field reporter, with Miko (Pet Sematary 1989) Hughes as his cameraman, and the ever-ravishing Maria Paris as Angie, their on-location boss, who presses Bill to broadcast as much violence as he can to harness high ratings. (Angie's request, perhaps, establishes the movie's philosophical slant, which emphasizes the need for beguiling sensationalism over sensibility. This motif, in turn, recalls Romero's media denouncement in Diary of the Dead.)
Among the further supporting cast, wrestling superstar Rob Van Dam plays an ardent zombie hunter, who rallies his troops to strike down the living dead. Genre favorite Dee Wallace plays a doomed waitress; Zack Ward plays Johnny; and Brandon Lee Ward plays Phil, whose diner death is as poignant as it's shocking.
As a wise, throwback tactic, the zombies wear an old-school look (never exaggerated, just believable). Michael Soo's cinematography is crisp and bright (even in the shadowy scenes), and John Jensensky's score captures the frightening vibe of the original's stock-music compilation.
I realize that some devotees of the original NOTLD will reject this version, just as they have previous takes, but if one can tuck away the snobbery and go with the flamboyant flow, this new effort will entertain or, in the least, grant some handy escapism for one's Halloween. (Stream it on Amazon!)
No comments:
Post a Comment