#Scott reiniger

[fanofspooky]

When there's no more room in hell the dead will walk the Earth!

[duranduratulsa]

Up next on my Spooktober Filmfest...Dawn Of The Dead (1978) on glorious vintage VHS 📼! #movie #movies #horror #nightofthelivingdead #dawnofthedead #georgeromero #ripgeorgeromero #Zombies #davidemge #ripdavidemge #tomsavini #kenforee #GaylenRoss #ScottReiniger #RichardFrance #JosephPilato #ripjosephpilato #christineforrest #michaelgornick #vintage #VHS #70s #Spooktober #october #halloween

[hug-kiss-marry-kill]

[abs0luteb4stard]

W A T C H I N G

[twenty-words-or-less]

Dawn of the Dead (1978)

Summary: A zombie outbreak forces a group of friends to take shelter in a nearby mall.

Groundbreaking and satirical character-focused zombie horror in which cause of outbreak is never explained. Rather refreshing.

Rating: 3.5/5

Photo credit: Happyotter

[suspiria76]

In honour of David Emge.

Farewell, Flyboy.

DAWN OF THE DEAD

USA

1978

Directed by George A Romero

[classichorrorblog]

Dawn Of The Dead (1978)

[vulcansalute]

DAWN OF THE DEAD (1978) Ken Foree and Scott H. Reiniger as Peter Washington and Roger DeMarco (inspo)

[weirdlookindog]

Dawn of the Dead (1978)

[gurumog]

Dawn of the Dead (1978) Laurel Group Dir. George A. Romero

Scott H. Reiniger as Roger Jim Krut as Chop-top Zombie

Special Effects by Tom Savini

[scholarofgloom]

[duranduratulsa]

Now showing on DuranDuranTulsa's Horror Show...Dawn Of The Dead (1978) on classic DVD 📀! #movie #movies #horror #dawnofthedead #nightofthelivingdead #georgeromero #ripgeorgeromero #Zombies #davidemge #ripdavidemge #tomsavini #kenforee #GaylenRoss #ScottReiniger #christineforrest #JosephPilato #ripjosephpilato #RichardFrance #dvd #70s #durandurantulsa #durandurantulsashorrorshow

[horrororman]

💀☠️🎂 A Happy #horror Birthday to Scott H. Reiniger, Michael Keaton, and Rose McGowan 🎂☠️💀

#ScottHReiniger

#DawnoftheDead

#MichaelKeaton

#BeetlejuiceBeetlejuice

#RoseMcGowan

#Scream

[watching-pictures-move]

Dawn of the Dead… in 3D!

This has been one of my favourite movies since I was sixteen years old, and formative in my love of the horror genre, so it was very nice to be able to see it with @thedrillerkiller on the big screen, and in 3D. That’s 1.5 times as much movie, if you do the math. So obviously I had a good time. I won’t have any great new insights about a movie I’ve seen a billion times and that much smarter people than myself have discussed to death, so let me rattle off a few thoughts about the 3D conversion.

I used to be a purist for this stuff, but I think this is a really interesting choice for the format. A lot of the movie has characters looking down the barrels of their guns either towards or away from the camera, so this visual strategy lends itself pretty naturally to the depth offered by the format. Think of the part where H. Scott Reiniger kicks and shoots a zombie, or when Ken Foree looks through the scope of a rifle in the gun shop.

So as a result the gore pops as well, as Romero often frames it for obvious emphasis or will sometimes have viscera pop out at the camera. At least one headshot results in a zombie’s brains erupting towards the viewer. If someone near the front had tossed their ketchup-covered fries behind them, this could have been a 4D viewing, but luckily this was not the case.

But there are moments when the 3D accentuates other effects, varied in tone. There’s montage of the trophy heads in the gun shop or the different products on sale though out the mall, Romero’s satirical jabs getting just a little more punch from the extra dimension. Or, in contrast, the scene where Foree comforts a deteriorating Reiniger from the other room, the 3D almost adding a visual echo to the shot where Foree is framed through a doorway. It feels just a little more poignant.

And while one of the complaints about 3D conversions has been their dimness, I think the extra pop of the candy coloured blood against the extra brown, Carter-era sheen works really well. Has any movie used the period’s visual drabness to such deadening effect? This truly is a zombie epic for the Malaise era.

And speaking as someone who had a huge crush on Gaylen Ross when I first saw this as a teenager, I was not immune to the power of her performance on the big screen with the extra dimension.

And as for the movie, I think Ebert put it best:

“If you can see beyond the immediate impact of Romero's imagery, if you can experience the film as being more than just its violent extremes, a most unsettling thought may occur to you: The zombies in ‘Dawn of the Dead’ are not the ones who are depraved. They are only acting according to their natures, and, gore dripping from their jaws, are blameless.

“The depravity is in the healthy survivors, and the true immorality comes as two bands of human survivors fight each other for the shopping center: Now look who's fighting over the bones! But ‘Dawn’ is even more complicated than that, because the survivors have courage, too, and a certain nobility at times, and a sense of humor, and loneliness and dread, and are not altogether unlike ourselves. A-ha.”

Listen, you can whine about some of the times he’s been wrong or whatever, but when he’s right, he’s right.

[mediamixs]

Dawn of the Dead (2004) Review: a classic horror movie to watch again

Adapted by James Gunn (Scooby Doo) from the original 1978 George A. Romero screenplay, Dawn of the Dead opens by allowing us to get briefly acquainted with the movies central protagonist, a pretty young nurse named Ana (Sarah Polley). But her safe suburban lifestyle is short lived, and a mysterious epidemic ensures that Ana is fleeing from ravenous zombies before the movie even hits the ten minute mark. She soon meets Kenneth (Ving Rhames), a tough-as-nails cop, and moments later they come across Michael (Jake Weber), a soft-spoken but natural leader, Andre (Mekhi Phifer), a man with a questionable past, and Luda (Inna Korobkina), Andres pregnant girlfriend.

They take refuge in a sprawling shopping mall, but quickly run afoul of the less-than-hospitable security guards C.J. (Michael Kelly), Bart (Michael Barry), and Terry (Kevin Zegers). More characters are added later, notably Steve (Ty Burrell), a smart-ass yuppie, and Andy (Bruce Bohne), the owner of a nearby gun shop. As the horrible infection spreads across the globe, and the situation becomes increasingly desperate, the characters come to realize that no help is coming from the outside. If they are to survive, they must take matters into their own hands. Luckily for us, that involves chainsaws, armor-reinforced parking shuttles, and propane tanks rigged into makeshift bombs.

The action comes fast and furious throughout, and director Zack Snyder (helming his first feature film) does a nice job of pacing and getting us right into the thick of things. He does tend to overuse the slow-motion effect whenever theres an explosion or cartridge ejected from a gun, but this can be forgiven because (a) its his freshman effort, and (b) it doesnt really take away from this particular story. Were also treated to some solid camera work, editing which maintains a fast pace but doesnt confuse the viewer, and excellent special effects with plenty of brains and blood to go around.

The soundtrack also plays a pivotal part in the film, adding an extra dimension to several key scenes. From Johnny Cashs When the Man Comes Around during the opening credits sequence (which, by the way, is better than many full-length zombie movies), to People Who Died by The Jim Carroll Band and a lounge version of Down With the Sickness by Richard Cheese and Lounge Against the Machine, its beyond me why the studio chose not to release this soundtrack.

The acting is very strong for a film of this genre, and Jake Weber and Sarah Polley are particularly impressive in the roles of Michael and Ana. They both manage to bring a quiet sincerity to their roles, something not easily accomplished in a movie dominated by flesh-hungry ghouls and belching shotguns. The cast is much larger than the original, but each character is given a few moments to shine and let the audience identify with them. True, nobody is fleshed out to the extent of, say, George C. Scotts Patton or Denzels Malcolm X, but what do you expect from a horror movie? This isnt Biography, folks.

Fans of the original Dawn will be happy to see cameos by Ken Foree, Scott Reiniger, and Sex Machine Tom Savini. There are several other nods to the original movie scattered throughout, and one gets the sense that the filmmakers had a great affection for their predecessor. But make no mistake, this movie stands on its own with a different cast of characters, different climax, and completely different ending. Comparisons between the two are inevitable, but ultimately unfair to both pictures. Its like comparing the original Atari to the Xbox. Both are a blast, but one is simply hopelessly outdated when held up to modern standards.

It should also be noted that the movie continues through the end credits, so dont run off as soon as the lights start to come up. If you do, youll probably leave the theater with a much different idea of what happened than those who stayed behind.

Dawn of the Dead updates a classic and improves upon it along the way. The action is faster, the zombies are faster, and the overall product just looks better. Its a zombie movie for the modern generation and well worth the price of admission.

[dawnanddorisqna]

What are Doris' thoughts on James Baxter animations? Which film/show of his would be her favorite? Do Doris and Dawn have any favorite animators?

We both love the work of James Baxter! Who doesn't? Also wish the Croods would've been amazing as hand drawn films.

Other ones I love, Vivziepop, Gooseworx and I follow Lumpytouch. Also, this is a group, but Studio Trigger!

I follow a lot of online animators. But I also like the classic ones that Doris enjoys.

Some of her favorites.

LaVerne Harding

and Reta Scott

And if you want to go really classical. Lotte Reiniger and her paper cutouts.