Summer 2020 Archive
Film Review
Night of the Living Dead (1990)
Directed by Tom Savini, written by George A. Romero
In this 1990 remake of the 1968 horror classic Night of the Living Dead, renowned special effects artist and director Tom Savini works directly with original creator George A. Romero to expand on and reintroduce the film in a new setting. This recreation of one of the pioneering films in the zombie genre draws from the original maintaining a sense of commentary while also standing alone as a quality zombie film. Savini’s experience as an effects designer resulted in an appealing aesthetic allowing for the sense of panic, distrust, and desperation to resonate within the viewer.
The film follows a group of individuals in the Pennsylvanian suburbs during a zombie outbreak. Survivors Barbra (Patricia Tallman), Ben (Tony Todd), Judy Rose (Katie Finneran),Tom ( William Butler), as well as Harry (Tom Towles) and Sarah Cooper (Heather Mazur), along with their sick and injured daughter convene in an old farmhouse in an attempt to barricade away from the attackers as they try to plot an escape. Amongst the stress and terror of the circumstance the viewer witnesses a multitude of fear responses as the characters clash in their means of protecting themselves and their loved ones to overcome the situation.
Tony Todd’s iteration of Ben, a still rare though recently the trend has begun to shift, African American horror protagonist brings forth an intimidating yet comforting type of lead as he tries to rally the group into fighting against the hoard. His various interactions with the other survivors allow for a sense of depth within his character. He and Harry conflict from the beginning surrounding their adamance of the proper course of action. Towles’ Harry is a competent foil in his stubborn argumentativeness as he actively and argumentatively opposes any actions that stray from his own, and it breeds a constant pushback against Todd’s Ben. On the other hand, Ben appears as more of a guiding force when interacting with Barbra or Tom. While still adamant in his beliefs, his apparent self-assured confidence and definitive plan offers a sense of stability and purpose to them amidst the chaos instead of competition.
Though the character relationships are compelling, the persistent arguments on what to do even as a course of action is being taken can at times feel like the movie is stagnating rather than progressing. Similarly, in Savini’s distinct style, color, and possibly because of the sense that things are absent due to issues with production conflict, the pacing and suspense of the film can seem off. Along with this, the similarities to the original film can make the modern additions feel almost distracting as checkpoints as opposed to cohesive creative decisions. Despite the style differences however Savini’s practical effects with the zombies does provide convincingly menacing monsters, and his adjustments to the characters fit into the media landscape they were released into.
Ben as an African American hero in a horror film did not have quite the same resonance with 1990’s viewers as 1968’s, or even now in the current landscape, but his presence still holds a place in horror history as representative of what is not often seen. Even the type of agency present in the female characters is demonstrative of changing narratives in film. Similarly, as a zombie film in general, it is designed to reflect a fear of the self in ways it can be perverted into destruction.
Ultimately, 1990’s Night of the Living Dead remake stands on its own as an entertaining and compelling zombie film that clearly respects its predecessor. This updated introduction of a defining film of the genre has carved a place for itself alongside it.
— Essence Saunders
CSU Stanislaus
Directed by Tom Savini, written by George A. Romero
In this 1990 remake of the 1968 horror classic Night of the Living Dead, renowned special effects artist and director Tom Savini works directly with original creator George A. Romero to expand on and reintroduce the film in a new setting. This recreation of one of the pioneering films in the zombie genre draws from the original maintaining a sense of commentary while also standing alone as a quality zombie film. Savini’s experience as an effects designer resulted in an appealing aesthetic allowing for the sense of panic, distrust, and desperation to resonate within the viewer.
The film follows a group of individuals in the Pennsylvanian suburbs during a zombie outbreak. Survivors Barbra (Patricia Tallman), Ben (Tony Todd), Judy Rose (Katie Finneran),Tom ( William Butler), as well as Harry (Tom Towles) and Sarah Cooper (Heather Mazur), along with their sick and injured daughter convene in an old farmhouse in an attempt to barricade away from the attackers as they try to plot an escape. Amongst the stress and terror of the circumstance the viewer witnesses a multitude of fear responses as the characters clash in their means of protecting themselves and their loved ones to overcome the situation.
Tony Todd’s iteration of Ben, a still rare though recently the trend has begun to shift, African American horror protagonist brings forth an intimidating yet comforting type of lead as he tries to rally the group into fighting against the hoard. His various interactions with the other survivors allow for a sense of depth within his character. He and Harry conflict from the beginning surrounding their adamance of the proper course of action. Towles’ Harry is a competent foil in his stubborn argumentativeness as he actively and argumentatively opposes any actions that stray from his own, and it breeds a constant pushback against Todd’s Ben. On the other hand, Ben appears as more of a guiding force when interacting with Barbra or Tom. While still adamant in his beliefs, his apparent self-assured confidence and definitive plan offers a sense of stability and purpose to them amidst the chaos instead of competition.
Though the character relationships are compelling, the persistent arguments on what to do even as a course of action is being taken can at times feel like the movie is stagnating rather than progressing. Similarly, in Savini’s distinct style, color, and possibly because of the sense that things are absent due to issues with production conflict, the pacing and suspense of the film can seem off. Along with this, the similarities to the original film can make the modern additions feel almost distracting as checkpoints as opposed to cohesive creative decisions. Despite the style differences however Savini’s practical effects with the zombies does provide convincingly menacing monsters, and his adjustments to the characters fit into the media landscape they were released into.
Ben as an African American hero in a horror film did not have quite the same resonance with 1990’s viewers as 1968’s, or even now in the current landscape, but his presence still holds a place in horror history as representative of what is not often seen. Even the type of agency present in the female characters is demonstrative of changing narratives in film. Similarly, as a zombie film in general, it is designed to reflect a fear of the self in ways it can be perverted into destruction.
Ultimately, 1990’s Night of the Living Dead remake stands on its own as an entertaining and compelling zombie film that clearly respects its predecessor. This updated introduction of a defining film of the genre has carved a place for itself alongside it.
— Essence Saunders
CSU Stanislaus
