| Third Rail Releasing | Release Date: February 15, 2008 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
18
Mixed:
11
Negative:
0
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Critic Reviews
Horror movie Rule #1: The only way to kill a zombie is to shoot it in the brain. George Romero himself laid this maxim down with his first film, the endlessly influential 1968 gutter classic "Night of the Living Dead." Forty years later, with George A. Romero's Diary of the Dead, the venerable filmmaker has done something almost as startling: He has put brains back into the zombie genre.
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The way Diary of the Dead chooses to deliver its gore, you know you’re in the hands of a grown-up uninterested in the excesses of the “Saw” or “Hostel” pictures. I mean, there’s gore, sure, and flesh gets eaten. But the way Romero shoots and cuts the shot of a girl’s reunion with her parents, one dead, one undead, it’s played for keeps--the right kind of gross, with a touch of mournful gravity.
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What divides opinion is the film's tone: Are those naive, portentous pronouncements about media, voyeurism and the numbing, pornographic allure of atrocity footage a sly reflection of the YouTube generation's boundary-free narcissism and callow youth, or evidence that Romero – never one to underplay a metaphor – has become a hectoring, tin-eared fogey?
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Compared with other first-person motion-sickness horror pictures like "The Blair Witch Project" and "Cloverfield," George A. Romero’s Diary of the Dead is weak tea, yet there’s enough social commentary (and innovative splatter) to acidulate the brew--to remind you that Romero, even behind the curve, makes other genre filmmakers look like fraidy-cats.
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The body has its needs, and one of the problems with Diary of the Dead is that it doesn’t get into your body; it doesn’t shake you up, jolt you, make you shiver and squeak. It’s clever, or at least clever enough to keep you going and interested from start to finish. It just isn’t scary.
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