land-of-the-dead7. Land of the Dead (2005; dir. George Romero) – You know those indie rock guys who love a band when they’re all obscure and lo-fi and then turn on that same band when they get enough money to go into the studio and up their production value and gain in popularity? I hate those little motherfuckers. For as much as I like Iron and Wine’s The Creek Drank the Cradle, The Shepard’s Dog is a better album, and it’s not the gloss or the production value. It’s the fact that Sam Beam had excelled and grown as a songwriter, as an artist. This might be a bad parallel, since George Romero’s best work appeared before Land of the Dead, but with Land of the Dead, he finally had the financing to make his effects glossy, to up the quality. It’s not as good as Night or Dawn or Day, but detractors who argue that he lost a step are like those indie rock guys who can’t let the band move on, who demand they make the same album again and again, who can’t appreciate that sometimes, production values add an exciting element to the previous lo-fi promise.

Should I apologize ahead of time for the fact that Romero appears on this list four times? He is, after all, the master of zombie movies. Anything made after Night either attempts to emulate him or to deviate and set its own make on the genre, but there isn’t a film with the walking undead that doesn’t bear his influence. And while it’s cool to like the lo-fi, makeshift DIY qualities of Night, Dawn, and Day, with Land, the confusion begins. Should we enjoy it? Is it okay to like the Hollywood version of George? We  have to remember that Day wasn’t an immediate hit nor was Dawn and that Romero films take time to strut their stuff and really show us how good they are. With only five years between Land‘s release and the present day, do we have time to accurately assess its merits? To be honest, I don’t give a shit. I really like this movie. So why isn’t it higher on the list? It’s kind of a little too Hollywood. (Do I contradict myself? Very well then, I….aw, shucks, you know the quote, right?) Yet, there’s still allure in it.

hopper

As Romero admits, each entry is intended to reflect the political climate of the decade in which it was made, and Land of the Dead certainly nails the Bush-era head on with the late great Dennis Hopper’s satiric portrayal of wealth, power, and entitlement lording it over a populace taught to fear “the other” and told that he’ll keep them safe while in reality the ship is sinking. It’s not exactly Oscar-worthy acting, but it’s worth watching just to hear him deliver lines like, “Zombies, man, they creep me out…” It also boasts Asia Argento (if you recall, her father Dario was instrumental in getting Dawn made) and there’s something alluring or intriguing about watching attractive women who seems like they might come unhinged at any moment and that’s kind of her bread and butter. I  mean, I wouldn’t want to date one….um, again…but watching them on screen is enjoyable.

At times, as is common in Romero movies, the message is heavy-handed, as he’s fond of putting exactly what he wants us to take away from the movie in at least one character’s dialogue, but the effects work is top notch and the progression of these zombies from mindless drones to creatures capable of learning who eventually seize the city is a welcome addition to zombie lore. How much more terrify is it indeed when they show signs of being human, when they can solve problems? Unfortunately, I couldn’t find a clip available to post and give you a taste so you’ll have to settle for the trailer offered below…