In Hollywood movies, the (semi-) manual camera documentary-style has largely become established. The intentionally blurred, amateurish acting shots, like them, and already there is the great irony buried, the so-called "dream factory" producing rings for authenticity: everything is real and seem real, and real. The fiction is blurred, and we are blinded. The subjective camera wants us to "realistic" images, which she designed, sell it as something they can never be: nothing but the truth, or let's say no more objective than reality. This is, of course, the entertainment value in spite of it all just a big lie. Perhaps the biggest, the cinema has ever produced. Of all of George A. Romero, who will be holding always a safe distance to the Mecca of blockbuster movies, you would have such a "camcorder movie" just does not even expected. Staged a group of film students for a college project in the forests of Pennsylvania an amateurish, unintentionally comical: With "Diary of the Dead", the now fifth movie of his six-part zombie saga, but he has just made a film (content Horror film. This really scary but it is still on the way home, when students encounter real zombies. With a film camera, armed them to document their journey through an apocalyptic America, which is doomed, and make the recordings for educational purposes on the Internet). Romero, however, rarely falls to the self-satisfaction of the hand-held camera style. He's too smart. And probably too old. He understands the "arms" of the cyber-generation - the camcorder as an "objective" witness and the Internet as an enlightening, globally accessible media platform - as perhaps the only serious alternative to the government corrupt and controlled intelligence services, which so far is sure to indoctrinate the people: education and dissemination of truth as ideology and self-image of a 2.0-counterculture. But, and this must not be forgotten: Romero is a nihilist. He sees the filmmaker as a chronicler of death, as documentarian of horror. Would like to objectify and, not least as smug voyeur of subjective perceptions and preserved for posterity. Just stupid that the world is able to be attacked by the living dead. A romeroscher cynicism. Works as an entertainment film of silly narrative and content does not always comprehensible, "Diary of the Dead" is rarely (well, because the first time at Romero zombie degenerates to the interchangeable synonym terror and thus a mere backdrop). As a self-reflexive media criticism, however much the better.

George A. Romero's films are not part of his zombie cycle, are not popular. There are the works of a Hollywood outsider who was never really respected to the mainstream. Hollywood also gave the native Pittsburgher no, or we say, scant attention in the more than forty years that he has now been active as a director. In the illustrious group of filmmakers who work for and in the "Dream Factory", they took him even less. It seemed, however, Romero never to disturb so real. On a system that stiffened mostly to spectator-friendly, non-critical films, he could well do without. In any case fits someone like Romero, the allegory of social criticism and outright denounces circumstances and highly polished aesthetic of nothing less, respectively, does not live in Hollywood. Perhaps he would have one or the other dollar, which would have him to finance his films can accrue, less stress is preparing. Perhaps it would also have its socio-political impetus that drove him at times and drives, corrupted. Who knows. With the horror-thriller "Monkey Shines" George Romero turned in 1988, perhaps his most conventional strip. Still a B-movie, no question, and anything approaching to a one-time-one films from Hollywood. However, surprisingly uninspired staging, unambitious downright unimaginative thought out and frightening. A film, as he would have been the "godfather of zombies" not only expected once. To illustrate: In "Monkey Shines" Romero told the story of Allan man who is hit by a truck while jogging and is now a paraplegic confined to a wheelchair. Allan can move neither arms nor legs, only his head is still subject to his control. Overwhelmed by the bitter blow of Allan tried to kill himself. But not even want to succeed more. Now that Allan has recovered from his failed suicide attempt, gives him his best friend Geoffrey, a morally reprehensible scientist who performs Genexperiment in monkeys, the little Ella, a trained capuchin monkeys, the Geoffrey treated with a non-hazardous product. The little monkey trained to not only give new hope Allan, but also facilitate the life of his master, and obey his commands. Quickly developed an intense relationship between Allan and the little Ella, who transcends the sense that humans and animals "mentally merge with each other." The fact that the genetically modified monkeys something is not right, Allan noted the latest, after it becomes instrumentalized murderer. Even the first half of the film seems to just Romero unusually optimistic. When more playing time of the first "light" film is bleak, the music by David Shire also scary. With the substance, or let's say the basic idea of ​​the film Romero knows not to start to dissolve as the story according to genre-typical patterns. Rarely, if ever, he psychologized the leitmotif of the body's own captive spirit. In the end, it did not want to say, we dismiss the usually in the depths of human-looking life-Romero with a happy ending. A strange film.

also known as "Zombie 2"

In the third part of the zombie saga of George A. Romero, the living dead have taken recently Florida, if not the whole world. A small group of scientists and soldiers holed up in an underground bunker. Life on Earth is virtually impossible, the situation hopeless. Few people could survive, the rest has been transformed into instinctive zombies. Only the "Nutty Professor" Logan is hope: He wants to gain control of the undead, in winning their trust-Ver. And actually remember the zombies in their human past: They salute, respond to music and can even handle firearms. For this realization Logan goes literally over corpses. The situation threatens to escalate in the bunker, as the despotic Captain Rhodes defended with all his power and authority on display. The mutual distrust is growing. The group splits up and goes again, the greatest danger is not living from the dead, but from the people themselves. "Day of the Dead" scolded by critics at the time, is perhaps the most stubborn continuation of the zombie series. Almost entirely free of satirical swipes the claustrophobic Subgenrefilm impresses with its Dialoglastigkeit. Exterior shots are rare, Romero sent reduces the available space by declaring the bunker liberated from daylight to dark scene. As in "Night of the Living Dead" theme Romero human error in fatal extremes, reaching over again and again its social, military and scientific critical aspects: Instead of mutual confidence to express and to cooperate in the fight against the undead, advised scientists and soldiers killed each other until the already culminates already hopeless situation. Mental fine as far Romero also thinks the "science of the Zombie" and thus lends further the stupid-looking mutant draft. Unfortunately, you can see the B-movie, the explicit representation halved because of the violence on budget. The splatter and gore effects and their spot makeup by Tom Savini are still elevated beyond any doubt. "Day of the Dead" is by far not the strongest film of the zombie cycle, in the context of the cult saga, however, still an important part.

In the early works of George A. Romero is always a trace of make out the Vietnam War, at least, is the national anger over a failed foreign policy exercise. Above all, the most visible and well-published in 1973 low-budgeted horror-action film "The Crazies", which is about a downed plane in Pennsylvania, which had on board the biochemical warfare agent Trixie. Consequently, to explain blatant military, the only and only believe in the "iron" chain of command, and puppets become scientists in white protective suits for fear that could ground water flowed material lead to a catastrophic pandemic, the small town to the quarantine zone and impose a state of emergency . The military rule gives way to terror, which is exacerbating the situation considerably within the zone: The evacuation of people is like a deadly chase, the use escalated when soldiers shot almost randomly on citizens and vice versa. Recently, the national decision-making apparatus has failed and brought the war into their own country. The story, which should realize a few years later in a weaker form in Seveso, Italy, is quickly told. She is angry and almost without exception, pessimistic. And somehow it leads Romero's misanthropic ideology, the greatest enemy of the people he was still himself, and even fatal, especially in emergency situations to continue. The story comes with all the tones are increasingly critical in the background. One understands quickly, against whom and what system, the frontal blows directed. And was and is the directorial Hollywood outsiders have been better. Nevertheless, the "Crazies" original, which is denied by the very intention of the author, any aesthetic, artistically demanding than the unnecessary remake of 2.0.

"The cruelest, most brutal, erdrückendste descent into hell, has seen the big screen ever"

"The biggest culture shocker of all time, which will enable the peaceful 70s in unrest"

"Against this film looks like a children's film The Exorcist"

"The movie could not advertise for American newspapers and the American Television"

"Zombie. There is no harder film "

"When there is no more room in hell ..."