Dawn of the Dead [Blu-ray] [1978]

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Also included are the US Trailer (2:37), which soberly describes the film as "a horrible, hauntingly accurate vision of the mindless excesses of a society gone mad," the German Trailer (0:58), Radio Spots (2:23), TV Spots (1:28), five reviews of the film (including one by Stephen King), and three trailers for Arrow's first Masters of Giallo DVD releases. Intense, blood soaked, and a thrill ride from beginning to end, I still enjoy it as much as, if not more, than the Romero original. We use cookies to give you the best possible experience on our site, provide personalised content and advertising, analyse our traffic, and ensure you see more of what you love. I still love Dawn though (as well as Day), so I, like most horror/genre movie fans in the UK, was thrilled to hear that Second Sight Films were releasing an exhaustively well-stuffed box set of Dawn of the Dead on both UHD and Blu-ray. The mall itself becomes a microcosm of American consumerism, a source of supplies for a group that over time becomes seduced by the easy pleasures that free access to such a wide range of material goods can offer.

The WGC and HDR lend themselves to vivid colours and pop from the screen, the blood had never looked so intense. The project then expanded to a second disc to include more related material, and eventually a third disc.As the director will admit, this is pretty blatant, so maybe subtext is the wrong word, but it’s handled well and gives the film an edge over more bog-standard horror fare. The second half goes long beyond the film’s release, looking at the rest of Romero’s career and how it, and the film industry, changed after Dawn.

For more about Dawn of the Dead 4K and the Dawn of the Dead 4K Blu-ray release, see Dawn of the Dead 4K Blu-ray Review published by Neil Lumbard on February 10, 2023 where this Blu-ray release scored 4. We will introduce you exclusively to Newpay finance products provided by NewDay Limited under this Introducer Appointed Representative arrangement.Only thing is, rest and relaxation is the last thing that she’s going to have as her daughter mutates into the living dead before her very eyes and her husband infected with the same evil in the process. On the film's release, Tom Savini's grisly makeup effects – which include chucks of flesh being bitten from arms and necks, the top of a head lopped off by a helicopter rotor blade and a body being torn apart in front of its horrified owner's eyes – were a bit too much for the British censor, who only passed the film for general release after some of the more graphic effects shots had been trimmed. UK collector Scott, also managed to hunt down a copy of the UK Zombies - Dawn Of The Dead trailer, which he found on the UK 1981 Intervision Exterminator pre-cert VHS.

Reportedly, they also used this along with a 4K scan of the best available internegative for the Cannes Extended Cut, both of which were also approved by Gornick, and another 4K scan of the best available interpositive for Argento's European Version, which for all intents and purposes appears to be the same as Midnight Factory's UHD release from four years ago. In 1997 BMG picked up the rights, submitting the Extended/Cannes version which the BBFC passed at around 139 minutes with only six seconds of cuts (Cat no: 74321 443663). The Romero, Savini and Christine Forrest commentary is an enjoyable look back at the shoot with plenty of interesting facts and anecdotes. Where Dawn really does part company with its predecessor is in its flashes of humour, which range from a string of small but memorable character moments (the sight of Stephen and Peter following the ribboned queuing route to empty a bank of its counter cash has always amused me) to the hilariously upbeat muzak, particularly H. With a bigger canvas and way more blood-soaked carnage, it’s somewhat of an epic, despite the restricted setting.

Extras: Language(s): English, Hard of Hearing Subtitles: English, Interactive Menu, Behind the Scenes, Bonus Footage, Commentary: George A. Section 3' titles could not be prosecuted for obscenity, but were non-the-less liable to seizure and confiscation under a "less obscene" charge, and ultimately destroyed. The Richard France interview is quite heartfelt and he’s an honest and interesting speaker, who offers a different angle on the film than many of the other contributors do. When boiled down, the simple message of ‘having everything, but having nothing’ still resonates because it is told so matter-of-factly and with such enthusiasm one is just captivated.

I’m not opposed to the idea of remakes, as many GREAT classic films are actually remakes of other sub-par or less desirable sources ( Ben Hur, Twelve Monkeys, The Thing), but I always approach them with a sense of trepidation and suspicions, as they are just as easily a rip-off without additional enjoyment as they are a new classic. There are plenty of entertaining anecdotes – I particularly enjoyed the story about the zombie extras who photograph themselves in full make up using the mall's photo booth and then use the resulting pictures to replace the demo pictures of smiling family types on the booth's exterior. A great, great horror film infused with a smart and multi-layered social commentary (which I've only touched on above), and whose style and effects were to set the standard and future direction for the genre as a whole. The movie isn’t perfect, but Snyder did a great job for his freshman effort as a director, and James Gunn (yes, of Guardians of the Galaxy fame) did a stellar job at writing the blood soaked script.We’re proud to promote an environment that allows for discourse benefiting everyone (newcomers to the experienced) and owners of all levels of gear (affordable to the high-end) while encouraging open and friendly conversation. On February 2nd, 1997, BBC2 showed the almost-uncut Extended (AKA Cannes or Directors Cut) version at 11:30pm. When the survivors are inside of the mall it’s a bit more toned down, with dialog taking front and center combined with some mild ambient noises from the surrounding areas. A comprehensive and enjoyable piece that's littered with extracts of Savini's film work, the star attraction is inevitably Savini himself, particularly the footage of him at home with family and friends, where he has a fencing match on the roof, balances his upright baby on one hand (honestly, you have to see this one) and rigs his wife up with exploding squibs but forgets to provide her with ear plugs.