Word: gores
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Dates: during 1970-1979
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...tone of Dawn is wildly different from Romero's earlier film, which was stark, claustrophobic, strewn with unintentional laughs, and genuinely funny. The gore and quick cutting help provide the scares, but the heavy use of shopping mall Muzak and color (the original was in black and white) buffer the horror and amplify the irony. It's also shockingly well-directed, blazingly edited (also by Romero), well-written (by Romero), and even well-acted (not by Romero)! The music editing, color, and jerky movements of the living dead combine to create a weird cinematic tour de force...
...much criticized use of gore in Dawn of the Dead actually points up a primary virtue of horror films. Everytime somebody blasts off the side of a zombie's head, audiences cheer. Why shouldn't they? What else can you do to flesh-eating zombies? Monster movies reduce every conflict to black vs. white, good vs. evil--that's the point. But they're fantasies--they invoke the supernatural; they don't pretend that that's how it is in real life, the way John Wayne or Clint Eastwood movies do. You can't rehabilitate the alien or the zombies...
...commercially singleminded, this film attempts to crossbreed the scare tactics of Jaws with the sci-fi hardware of Star Wars. The result is a cinematic bastard, and a pretty mean bastard at that. Alien contains a couple of genuine jolts, a barrage of convincing special effects and enough gore to gross out children of all ages. What is missing is wit, imagination and the vaguest hint of human feeling. Luckily for Alien's creators, such ingredients are not really essential at the nation's box offices, especially during the sunstroke season...
This is Michael Winner's annual exercise in violence and stupidity. The brutality, by the standards of the director who brought us Death Wish and The Sentinel, is relatively mild. It lacks his usual slavering interest in gore, grotesquery and sadism-though there is one signature episode in which a man is tortured by being doused in blood and dunked in shark-infested waters. One must add, however, that Winner has perhaps exceeded him self in witlessness...
...Warriors' sin may lie not in its content so much as in the way it attracts crowds like a lightning rod. It is not particularly violent, and what violence there is is curiously abstract and unemotional. More gore can often be seen on the television screen, and any number of films-Marathon Man, Death Wish, just about any Peckinpah film and certainly A Clockwork Orange-have contained far more stomach-churning brutality. Indeed, The Warriors' director, Walter Hill, goes out of his way to expunge any feeling of genuine menace or racial animosity. The gang called the Warriors...