The Places You'll Go! One of the archetypal horror villains, the walking dead have endured in popular culture for over half a century, emerging and evolving in new forms, eating away at the collective consciousness. Team Empire presents a list of the greatest zombie movies — some mere mindless blood-splattered fun, some with brains as well as bursting innards, from scuzzy, sickening gonzo gore-fests, to genre-twisting hybrids, and even a family-friendly favourite.
Don your protective gear, tool up anyone got a cricket bat? Robert Rodriguez's trash-tastic exploitation homage is the splattier, squelchier half of the Grindhouse double-bill he cooked up with Quentin Tarantino — the story of a go-go dancer, a bioweapon gone awry, and Texan townsfolk turned into shuffling, pustulous monsters. Leaning heavily into its B-movie roots, with missing reels, scratchy edits and hammy overdubbed dialogue, Planet Terror has its exploding tongue firmly rooted in its rotting cheek.
Its over-cranked gore and oozing effects are downright disgusting, and it builds to a stupidly fun finale in which Rose McGowan's hero Cherry Darling has her severed leg replaced with a machine gun. All together now: "I'm gonna eat your brains and gain your knowledge! Helping popularise the notion of Nazi Zombies around the same time that it became a Call Of Duty staple, Tommy Wirkola's Norwegian comedy-horror combined cinema's two most enduring forms of villain.
When a group of students head off for an Easter holiday in a snowy Scandinavian cabin, they accidentally summon an undead horde of Nazis by meddling with a box of gold loot. It's a premise that plays on reported tales of the Nazis' obsession with the occult, while leaning gleefully into the potential of its unapologetically pulpy concept.
The white stuff quickly turns red in a blast of campy shlock — especially once the survivors arm themselves with power tools. Buy now on Amazon. A zombie movie — but, y'know, for kids! Fresh from traumatising a generation with Coraline, stop-motion animation studio Laika served up a family-friendly horror adventure.
The titular Norman is an ostracised boy who can talk to the dead — which comes in handy when a witch's curse summons walking corpses from the town graveyard. Spooky fun, and a rare zombie movie that due to its target audience isn't lavished in gore, instead relying on understanding and forgiveness to save the day.
It takes a lot to make a truly fresh-feeling zombie film — but Colm McCarthy's adaptation of Mike Carey's novel is a smart and thoughtful reinvention, with genre thrills to boot. In this case the zombie condition is the result of a The Last Of Us-esque fungal pathogen which has turned most of the population into 'hungries'. But that remains largely in the background of the story, which instead focuses on young girl Melanie, who's receiving an unusual education in a heavily-armed facility from Gemma Arterton's teacher Helen.
As a 'second-generation' hungry, Melanie still wants to eat human flesh, but can think and feel too — and her mere existence could hold the key to the future. This second dose of panic-attack-inducing found-footage horror is largely as effective as the first film — one that revisits the outbreak-afflicted tower block from a new perspective, as a team of bodycam-wearing soldiers head in to retrieve a sample.
It makes for a more action-oriented follow-up, but one with ideas too — delivering a unique take on zombie lore, with the viral infection compounded by some religious occultism.
It's especially impressive for managing to hop between perspectives without ruining the central first-person concept. Imagined as a quasi-sequel to Dawn Of The Dead, Italian director Lucio Fulci's film, notorious for its truly sickening effects, took zombie mythology back to its black magic-inspired roots. Zombie Flesh Eaters — also known as Zombi 2, after Dawn Of The Dead was released as Zombi in Italy — depicts a zombie outbreak on the Caribbean island of Matul as the result of a voodoo curse, with its creaky undead shufflers pictured in various stages of decomposition, often covered in real maggots.
A famous scene involving some up-close eyeball damage got it caught up in the 'Video Nasty' scandal — and though a cult favourite, it's more beloved by hardcore zombie fans than critics. Bonus points for the stupidly dangerous zombie vs. It bears very little resemblance to its celebrated source novel, but World War Z stands as perhaps the only all-out zombie blockbuster. With Brad Pitt in the lead, a globe-trotting scope, and a considerable studio budget behind it, Marc Forster's film presents the zombie movie as a summer action spectacle with a worldwide outbreak threatening global collapse.
Where most zombie films are claustrophobic, this is the opposite, offering up inventive widescreen imagery of zombie swarms — crowds of the undead running en masse, scrambling over each other in insect-like mounds, able to scale walls through sheer force of will. As the zombie sub-genre ambled towards a cultural renaissance at the end of the s, Ruben Fleischer's irreverent zom-com arrived at just the right time. Jesse Eisenberg is cautious loner Columbus, doing his best to survive the undead apocalypse with a series of audience-winking rules 'check the back seat', 'double tap' your kills.
The story revolves around Michael, something of a deluded sad-sack who was recently dumped by his girlfriend. The very low budget is consistently apparent in the dull-looking visual palette and single location, but Kren gets the most out of his actors in a zombie movie that is also surprisingly gore-less.
And at only 63 minutes, it never has to worry about overstaying its welcome. Rammbock is a lean, mean little zombie story that does just enough differently from the template to be memorable. Zombies, and really the horror genre in general, went through something of a lull in the s, outside of genre-savvy offerings such as Scream. In Europe, though, unconventional zombie films did still pop up now and then, of which Cemetery Man is the most notable. The premise itself sounds old-school and spooky: A cemetery caretaker lives with his Igor-like assistant and kills the zombies that occasionally rise from their graves after being buried for 7 days.
In reality, though, the film is essentially a horror art-comedy, an experimental and partially plotless, dreamy movie about the protagonist drifting through life without purpose and questioning why he bothers carrying out his duty. He pines after a woman who he immediately loses to zombification, and there are elements that almost remind one of American Psycho in the hopelessness and lack of identity he faces—even when the protagonist tries to commit atrocities and get caught, nobody seems to notice or care.
The Horde plays a bit like someone in France saw From Dusk Till Dawn and wondered what the format of that movie might be like with zombies instead of vampires.
Like the Robert Rodriguez film, we get sucked into a tense crime story first, following a group of police officers as they storm a mostly abandoned apartment high-rise to take down a gang of drug dealers who killed one of their own. And then, 20 minutes in … a bunch of zombies arrive! They have no access to information on the wider world, and can only watch as Paris apparently tears itself apart. Naturally, the cops and robbers then need to team up in order to survive, in a strange mix of sadistic humor and emotional turmoil.
As for the zombies, they actually look pretty awesome, although their abilities tend to vary wildly from scene to scene. If the audience knows that the script will require this one infected person to be present for a conclusion, then it robs all the other infected of being perceived as legitimate threats. Still, despite all that, 28 Weeks Later is well-shot and full of shocking, gritty action sequences. NOTLD is timeless in its simplicity—a diverse group of strangers holed up in a house, under siege by zombies, without a clue of how such a terrible sequence of events has come to be.
But Barbara? As a result, it remains underrated. In a small New England coastal town, a rash of murders breaks out among those visiting the town. Unknown to the town sheriff, those bodies never quite make it to their graves … but people who look just like the murdered visitors are walking the streets as permanent residents. The zombies here are different in their autonomy and ability to act on their own and pass for human, although they do answer to a certain leader … but who is it?
The film is part murder mystery, part cult story and part zombie flick, and it features some absolutely gross creature work and gore from the legendary Stan Winston.
More people should see this weird little film. It features surprisingly compelling characters and develops them without relying on exposition—Brooke becomes one of the biggest stars of the film despite being a bound and gagged captive for almost an hour. In general, Wyrmwood: Road of the Dead is the kind of genre idea that many directors could have tackled, but few could have pulled off so stylishly or entertainingly on this kind of budget. Everything that seemed odd or stilted about the short upon first inspection becomes a major source of humor in the backstage segments, building to a conclusion in which the sense of joy in having somehow achieved the impossible feels entirely earned.
And as for plot? Revivals of the classic Universal monsters Dracula, Frankenstein, The Mummy were the main forte of Hammer Horror, but the British studio also managed to produce one great, influential zombie movie that has flown pretty much under the radar in the decades since its release. Decayed-looking and truly frightful, with a fantastic design aesthetic, they feel like a true bridge to the Romero ghoul, and the visual influence on Night of the Living Dead is pretty obvious.
With its glorious Technicolor imagery, it fits in comfortably alongside the better-known Hammer classics from Terence Fisher. On one level, you could call it a safe box office call to remake one of the most beloved zombie stories of all time, but at the same time, Snyder tackled that property in a pretty ambitious, risky way. The survivors we assemble at the mall are well-chosen, especially security guard C.
Such measurable character growth is profoundly unusual for this genre. Zombieland was certainly inspired on some level by the former, as it moved the action to the USA and brought together survivors who were anonymous to each other rather than a circle of friends, as in the tradition of NOTLD. Featuring zombies that are legitimately threatening, it tows a near-perfect line between comedic but gory violence and character-driven humor. For a genre that has been run into the ground at times in recent years, there does tend to be at least one great, independent zombie movie in any given year, and in that movie was Train to Busan.
When it opens, all hell starts to break loose in the building, in a film that combines a haunted house aesthetic with demonic possession, the living dead and ghostly apparitions. The Spanish film follows a news crew as they sneak inside a quarantined building that is experiencing the breakout of what essentially appears to be a zombie plague. The fast-moving infected resemble those of 28 Days Later and are later revealed to be demonically possessed in a way that moves through bites, ably blending traditional zombie lore and religious mysticism.
The film ultimately contains all of the gore and violence you would expect from a great indie zombie film, simply delivered in a unique way, with a distinctly new message.
Demons is the best zombie film ever made that entirely pretends to be about a different type of monster. The action all takes place in an opulent old movie palace, the perfect location to bring together a large cast of weirdo characters—from preppy kids to arguing lovers, a pimp with his prostitutes and even a blind man who is simply listening to the film.
Scene of someone having an eye poked out? Zombi 2 has had countless foreign imitators since, but none of them can measure up. What more can be said of Night of the Living Dead? More importantly, it established all of the genre rules: Zombies are reanimated corpses. Zombies are compelled to eat the flesh of the living. Zombies are unthinking, tireless and impervious to injury.
Remington New Model Army. Barrett M82A1. Ballistic Knife. War Machine. Ray Gun. Ray Gun Mark II. Monkey Bomb. Time Bomb not in Borough. Juggernog - points. Quick Revive - points points on Solo. Speed Cola - points. Double Tap Root Beer - points. Stamin-Up - points. Mule Kick - points. PhD Flopper through a Persistent Upgrade. Tombstone Soda through a Persistent Upgrade.
Trample Steam. Subsurface Resonator. Head Chopper. NAV table. Buried note the blue glow near the bottom of the screen. A horde of zombies, notice the mystery box's beam of light. Also notice the Speed Cola light by the right of the mystery box light. The characters being pushed back by the zombie horde. Note the Juggernog Perk-a-Cola machine behind the characters. A Ghost flying outside the mansion. Arthur escaping his cell. Size comparison of a normal character with Arthur.
Universal Conquest Wiki. M Knife Fragmentation Grenades. Russman: Enough walking for today. We set up camp here. They all sit around a fire. Russman: In case you boneheads have forgotten, the world is broken, very broken.
The scene changes back. Russman: I don't know that we will, but at least we'll be sure. Samuel Stuhlinger: Uh, sure of what, exactly? Russman: I don't know Marlton Johnson: His memory's going again!
Abigail "Misty" Briarton: Your name is Russman! Russman: That my first, or last name? Marlton Johnson: We don't know. You're just Russman. There is a flashback of Russman in a city, standing in front of a building. Russman: Yeah I think I remember A town Abigail "Misty" Briarton: That's right!
Marlton Johnson: That's where you found us! Abigail "Misty" Briarton: When we met, you already had your lap dog in tow. Stuhlinger, particularly given your own proclivities- Russman: You better watch your mouth before you say something you regret, boy! Abigail "Misty" Briarton: Enough! We need to remember why we're here. Samuel Stuhlinger: "Fully" understand?
Abigail "Misty" Briarton: Alright, for reasons we don't understand at all! Misty cocks her shotgun. Abigail "Misty" Briarton Is better than doing nothing. Russman: The rift is less than one day's travel. We move at dawn.
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