Archive for October, 2011
Wednesday, October 26th, 2011
Dennis Woodruff Collection, Volume One Three Films
Stars: Dennis Woodruff
Director: Dennis Woodruff, Keith Kurlander
Released by Troma 2011
Review by Steven Ruskin
In soccer a foul is called if rules are broken or the play on the field is too harsh. A yellow card is given if that infraction is deemed to be reckless. If a play oversteps that and becomes too violent or a flagrant infraction of the rules is committed a red card is shown and the player is removed from the game. In the world of home video distribution there are no rules to govern the game. Reviewers and critics do not have whistles to blow, we can’t cry foul and we certainly can’t eject or throw anyone off the field. However if I could, I’d red card Dennis Woodruff right off the field of play for this triple collection of infractions. Three films indeed.
The cover sports a very cool, even retro hipster looking guy in a forties style hat. There are artful swatches of color arranged in a very trendy graphic style over that headshot. A paragraph on the back proudly proclaims that, “Woodruff is the man who sold over 100,000 copies of his various movies out of the trunk of his famous art cars. He is an icon in Los Angeles and is a known celebrity worldwide.” Not living there or having the occasion to traverse said pavement, I checked this guy out on the interwebs. The usual sources reveal a guy who made some low budget videos and tried to become a self – realized celebrity / actor. Then he kind of vanishes – a ghost as they say in those TV crime shows. Okay there are lots of small time indie filmmakers who are not recognizable names but in today’s democratized world of filmmaking seemingly anyone with enough desire can actually make a film. Right? The makings of a good story, some directorial style, or an actor’s natural talent and charisma will still come across even in the no budget field, right? The first disc features two complete films and the second disc has a third movie plus some Troma extras. Not bad if we like this guy, right? Okay, let’s see what this fellow, this Dennis Woodruff has got to show for himself.
SPACEMAN RETURNS – (78 minutes)
I can’t tell you how horribly amateur this looks. We seen some outer space pictures filmed by a low quality video cam while some guy goes on about outer space travel and spouts some kind of trippy spaced out philosophy. He’s got a jumpsuit and helmet. The best thing so far is that that helmet reminds me of the one in Robot Monster. Then for the rest of the picture he, the spaceman, walks around talking to people. It is so random that you’d suspect he literally just walked around town and tried to strike up conversations with whoever he ran into. There do appear to be a few somewhat staged encounters. After a short while I could not follow this at all. He does take time out to scarf down some tacos, that much I did comprehend.
OBSESSION: LETTERS TO DAVID LYNCH – (69 minutes)
In this one Dennis Woodruff plays himself as an actor that desperately wants to be in David Lynch’s next movie. After he prattles on about the quest he goes to the American Film Institute Building and does the random people I run into interviews again. The camera work is really at the level of him holding the camera at arm’s length and pointing it at himself as he talks. One guy he sees kind of plays back at him. Amidst all this tedium that was almost amusing. Well, if you have seen any of Mr. Lynch’s latest efforts you know that Dennis did not get cast and did not wind up starring in any of them, including the shorts. I know that’s a spoiler but things are tough in Hollywood.
LA – (87 minutes)
In a daring change of pace Dennis let’s his collaborator and editor, Keith Kurlander direct this one. For a precious short while we get to see older clips of Dennis when he first came out to Hollywood. At first I hoped this might be a documentary of who Dennis Woodruff actually was. After two films I was kind of curious. No such luck. In fairly short order we are back in the land of incoherent ramblings and aimless wandering. We do get to hear Dennis tell us his origin story. According to Dennis, his mother drove out to the Hollywood Hills, kicked him out of the car and abandoned him at a very early age. From that point on he was raised by coyotes. Once he got a little older he states that his strongest recollection was staring up at that huge Hollywood sign and proclaiming, hey that’s for me! Things did not quite work out according to the hoped for legend. If you have never heard of Dennis Woodruff, you know how this one ends.
This man that we follow around for these three films is not particularly engaging. He is not very interesting or charismatic in any way. He’s not funny and I suspect if you ran into him in the street you’d keep right on going. There’s no compelling reason to spend any amount of time with him. The films offer no insight into him. If this is a persona that he adopts in some bizarre improve project it comes across as pointless. It feels real and even though Andy Warhol predicted that everyone gets his fifteen minutes of fame, these are fifteen, actually 233 minutes, that you can do without seeing.
Video – Full screen 1.33:1. The images are very soft and shaky as you’d expect from a cheap camera that someone lugs around the streets with him filming as he walks. This collection seems to have been released with two different covers, but rest assured that the same material can be found on either edition. The total running time is 233 minutes. The three films appear to be circa 2008, though I can’t verify that with any kind of certainty.
Audio – Most of the sound was recorded on that little tiny microphone that comes stuck on the front of some lower priced cameras. This is not professional equipment by a long shot. There is some music.
Extras – On the second disc there is an assortment of the usual Troma extras, a few trailers and that floozy- Tromette that recites Chaucer. They recycle this same material over and over. Maybe that girl could try reciting Gatsby next time, just for a lark.
On a scale of Poor, Fair, Good, Excellent, Classic
DVD – Poor
Movie – Poor
Friday, October 21st, 2011
by Troy Howarth
Directed by Lucio Fulci; Screenplay by Elisa Briganti and Dardano Sacchetti; Starring Ian McCullough, Tisa Farrow, Richard Johnson, Al Cliver, Auretta Gay, Olga Karlatos, Lucio Fulci
Reporter Peter West (Ian McCullough) teams up with Anne Bowles (Tisa Farrow) in order to find the latter’s father, who disappeared while doing research on a small island in the Caribbean; while there, they discover that the dead are refusing to stay dead, and are returning to eat the living….
The worldwide box office success of George A. Romero’s Dawn of the Dead (1978) created a renewed interest in the living dead subgenre. While Romero’s initial success in that field, Night of the Living Dead (1968), established the ground rules and resulted in plenty of imitations of its own, Dawn’s success took imitation to a whole ‘nother level. Some of the films inspired by its success were flat out ripoffs with little imagination or creativity to recommend – cf., Bruno Mattei’s Hell of the Living Dead (1980) – but the best of them gave Romero’s classic a run for its money. Zombie most definitely belongs to the latter category. The film was conceived as an unofficial sequel to Romero’s film, which had been released in Italy as Zombi under the auspices of coproducer Dario Argento. Therefore, when this film was released as Zombi 2 in Italy, the producers were taken to court by Argento, who cried foul. It was found, however, that the term ‘zombi’ (Italian for zombie) did not originate with Argento or Romero, and the suit was summarily dismissed. All the accusations of plagiarism followed the film across the globe, where detractors would decry the film as a pale imitation of Romero’s clever mixture of gore and social commentary. While it’s true Zombie (or Zombi 2, depending on where you’re at) would not exist without Romero’s model, the similarities between the two pictures are tenuous at best. Screenwriter Elisa Briganti (working with the uncredited assistance of her better known husband, Dardano Sacchetti, who had his hand in more classic Italian genre films than virtually any other writer, barring Ernesto Gastaldi) takes her cue from pulp fiction and old time horror films, leaving the social commentary and overt comedy of Romero at the door. The film is essentially structured as a mystery-cum-adventure film, with the horror mostly held in check for the first half of the picture. But once the horror is unleashed, it comes at the viewer full force – thanks in no small measure to the approach of its director, Lucio Fulci.
Fulci had entered the film industry in the 50s as an assistant director, gradually working his way up the ranks as a screenwriter and eventually director. Fulci tried his hands at just about any popular genre, from spaghetti western to rock and roll musical, but failed to establish a solid reputation until Zombie came along. Zombie, of course, would change all of that, forever cementing his reputation as one of Italy’s foremost fright filmmakers. The director had already dabbled with fear via such stylish gialli as A Lizard in a Woman’s Skin (1971) and Don’t Torture a Duckling (1972), but these films failed to make much of a positive impression on the public; with Zombie, he created a rollicking rollercoaster ride of such ferocious intensity that horror buffs the world over finally sat up and took notice. The irony is that Fulci came to the picture as a mere hired hand. The picture was originally offered to Enzo G. Castellari, a specialist in action fare who decided that horror simply wasn’t his cup of tea; rumor has it that it was Castellari who suggested Fulci to the producers, however, so one can definitely credit him with helping to ‘make’ Fulci’s reputation. Fulci was accustomed to writing or cowriting his own material, but here he was handed a structually sound screenplay that he didn’t need to adjust. All of this might make it sound like he was essentially hired to be a traffic cop on the set, but that would seriously undermine what he brought to the film. While Fulci had never directed a typical horror film in the past, he had an appreciation for the genre and approached the film with committment and passion. He also brought his flair for visceral violence to the table, going in for lingering closeups where other directors would show considerably more restraint. Fulci’s no-holds-barred approach resulted in a movie that outdid its already extreme model in terms of shock appeal. Critics hated it, of course, but horror/splatter fans embraced it like a long lost friend.
While Zombie would cement Fulci’s reputation as a horror director, it can also be argued that he did better work in other genres. His gialli of the 60s, 70s and early 80s (including the notorious New York Ripper, 1982) are hard to beat, rivaling even those of Dario Argento, and he also displayed a real flair for the spaghetti western, most notably with his 1974 gem Four of the Apocalpyse. Then there’s also the historical melodrama Beatrice Cenci (1968), a film near and dear to its director’s heart, which showed him to be a filmmaker of great taste, with an eye for realism in the all-t0o-often overstuffed period piece subgenre. The success of Zombie, and the bloody horrors that followed, endeared the director to some but made others turn a blind eye to his obvious talents as a filmmaker. Fulci would foreground shock effects and a dank atmosphere in these films, often neglecting story and character in the process, making it easy for detractors to deride his work as cheap sensationalism. These criticisms are facile and superficial, but there’s little doubt that the more popular horror titles DO lack the depth and character of his most impassioned work in other genres. Even so, Zombie deserves a lot of credit for working as well as it does. The story isn’t the most original, but it works well enough, and Fulci helps to propel the action through his stylish use of composition and camera movement. For a film conceived as a low budget cash in, it looks great throughout – Sergio Salvati’s cinematography is superb, Fulci packs the widescreen frame with interesting details, and the makeup effects by Gianetto DeRossi and his team of talented artisans completely outdoes the already groundbreaking work of Tom Savini on Romero’s Dawn. The film also delivers at least a half dozen setpieces that deserve to be on any horror buff’s checklist – from the rightly infamous eye splinter scene to the wonderfully wonky zombie versus shark sequence (guess who wins) to the moody opening set aboard an abandoned boat drifting into the harbor in New York City.
The cast does a credible job on the whole. While wide-eyed Tisa Farrow (The Grim Reaper) is a walking, talking disaster in the all-important role of Anne Bowles, Ian McCullough (Contamination) makes for a likable hero. The show is easily stolen, however, by the great Richard Johnson (The Haunting), who brings gravitas and conviction to his role as the shady Dr. Menard. Johnson’s line readings make memorable quotes out of otherwise mundane dialogue (“The boat can leave now. Tell the crew.”), and he really creates a sense of depth to his character – this is particularly impressive given how sketchy the characterizations really are. The supporting cast includes Al Cliver (aka Pier Luigi Conti) and Auretta Gay as a vacationing couple who get mixed up in the action. Cliver would go on to appear in a number of Fulci’s horror films, and he does a pretty good job – but the English dubbing sometimes makes him appear a little less capable than he really is. Gay fares better than Farrow, but again, the dubbing sometimes has a negative impact on her performance. Olga Karlatos (Murder Rock) is also effective as Johnson’s distraught, hard-drinking wife.
In addition to the excellent cinematography and makeup effects, the film is aided immeasurably by a score by Fabio Frizzi and Giorgio Tucci. Tucci pretty much only contributed to the caribbean-flavored tracks, while Frizzi wrote the more iconic themes. Frizzi had already worked with Fulci on several films (including the classy giallo The Psychic, 1977), and he would go on to provide the ‘sound’ of some of the director’s most beloved horror films of the 1980s, most notably The Beyond (1981). The score really adds to the atmosphere, but Fulci also makes terrific use of ambient sound, as well.
Zombie may not rank as Fulci’s finest hour, but it is among the best Italian zombie films ever made – and it remains an essential title for fans of splattery horror. Fulci’s flair for the genre is apparent throughout, and for all its shortcomings it is still tremendously effective and entertaining.
Blue Underground’s highly touted new 2 disc special edition blu ray release of Zombie (which is also being presented on DVD, for those who haven’t taken the plunge yet) has predictably undergone much debate and speculation on line. Some fans are already gnashing their teeth over frame grabs and less than enthusiastic reviews, but this is almost to be expected at this stage in the home video game. BU’s advertising touts that it is a new 2K High Definition transfer from the original negative, supervised by cinematographer Sergio Salvati. Given that Salvati’s input was sought out, that would seem pretty definitive that the visual scheme is as his wants it – right? Well, of course, some are already complaining that the transfer is too bright, exposing defects in the makeups, etc. Truth be told, this seems based more on a cozy familiarity with previous, murkier video editions than anything else. Seen in this new transfer, the film truthfully looks more in keeping with the visual look and style of the other Fulci/Salvati collaborations – shadowy, but not oppressively so, with the key components of the image given sharp detail, as opposed to being kept murky or in the dark. The transfer is colorful, too, much moreso than other home video incarnations – and this, too, seems consistent with the style of the other Fulci/Salvati collabortations, which don’t pop so much as, say, Argento’s Suspiria (1976), but are still very much a part of the grand, baroque tradition of candy colored Italian horror as popularized by the work of Mario Bava (whom Fulci knew and very much admired). The 2.35/16×9/1080p transfer looks very handsome on the whole, but I will side with some of the online reviewers in one area – it does appear as though BU employed more DNR than necessary,resulting in some softness to the image. There is grain evident, but it appears to have been smoothed out more than necessary to give the film a slicker look. Only the most finicky of fans will even notice this, truth be told, and on the whole BU is to be commended for making this the best looking edition of this classic title on home video to date.
Audio options include the English and Italian tracks, both given a new 7.1 DTS track, as well as a remixed 5.1 surround track. Happily, the original mono tracks are also included. The various tracks are in excellent shape, though purists will of course want to stick to the mono. The score is potent in all the mixes, and dialogue is easy to discern as well. English subtitles are included for the Italian track, while English captioning is included for the benefit of the deaf and hard of hearing. There are no issues with distortion or background noise to report.
Extras kick off on disc one, with the commentary track with McCullough, moderated by Jay Slater, held over from the old Roan Group laser disc release. This track has taken a lot of flak over the years, but truthfully it’s not bad, with McCullough’s conservative demeanor contrasted with Slater’s more giddy film geek approach. Various TV spots, radio spots, theatrical trailers and a poster and still gallery are also included; the theatrical trailers and gallery are presented in HD. The major new addition to the first disc is an oncamera intro by director Guillermo del Toro, who shares his love for the film and its director. Disc two is where the new goodies really kick in. First up is Zombie Wasteland, a 22 minute featurette featuring interviews with Ian McCullough, Richard Johnson, Al Cliver and stuntman/actor Ottavio Dell’Acqua, who portrays the iconic ‘worm face zombie’ featured so prominently in the film’s ad campaign. The actors were assembled for a reunion at a fan festival in the US, and they appear to be having a blast recalling the film and its iconic director. Johnson tells his beloved story of seeing Fulci so angry at a female costar that he threw himself on the ground and started to eat the grass (!), and he seems genuinely fond of Fulci and the film itself. McCullough remains a bit nonplussed by it all, but admits that he’s begun to come around to the fan circuit and appreciates it more now as a result. Cliver is particularly touching, saying that the adulation makes it all worthwhile, while Dell’Acqua is like a kid in the candy store as he interacts with the fans. Up next is Deadtime Stories, running 14 minutes, in which writers Briganti and Sacchetti recall the project and its impact on their respective careers. Next is Flesh Eaters on Film, which allows coproducer Fabrizio De Angelis to hold forth for 9 minutes on his views on the film and on Fulci in general. World of the Dead, clocking in at 16 minutes, sees cinematographer Sergio Salvati and costume designer Walter Patricarca talking about what they brought to the picture and their relationship with Fulci. Zombi Italiano is a 16 minute segment with FX artists Gianetto De Rossi, Maurizio Trani and Gino De Rossi, who discuss their essential contribution to the film, and how they were often forced to improvise without adequate time or resources. Notes on a Headstone is a 7 minute interview with composer Fabio Frizzi, who comes off as a true fan of the film. All in the Family is a 6 minute interview with Fulci’s daughter, Antonella, who provides a warm, loving portrait of an admittedly complicated human being. Things wrap up with Zombie Lover, which allows Guillermo del Toro to talk for 9 minutes about one of his favorite horror movies. As usual, del Toro’s enthusiasm is infectious – and you may well find yourself wanting to revisit the film again with his views in mind. All told, this is a superlative release – fans of Zombie, or Fulci in general, should be more than sated by all the goodies on display.
Film: **** out of *****
Blu Ray: ***** out of *****
Tuesday, October 18th, 2011
The Baby (1973)
Stars: Anjanette Comer, Ruth Roman, Marianna Hill, David Mooney
Writer: Abe Polsky
Director: Ted Post
Released by Severin 2011
Reviewed by Steven Ruskin
There was a time in the seventies when director Ted Post’s name seemed to show up everywhere. You could catch him on the big screen with Magnum Force, Beneath The Planet of the Apes and The Harrad Experiment with a young Don Johnson. Flip on the television and his name was on the crawl for episodes of Twilight Zones and Combat. He was never considered one the auteurs of the time, much more of a craftsman doing his job. He’s certainly done a better job elsewhere even turning in one of the first decent Chuck Norris films, Good Guys Wear Black. Almost everyone seems to have a disconnect with the material in The Baby. We’re not quite sure if this is meant to be some kind of indictment of child abuse or just some freaky tale of crazy ladies and a baby. It’s hard to see why this film was given the go-ahead. Even the vaguely misleading poster fails to drum up much enthusiasm.
Imagine yourself an executive in a studio in the seventies. As you read this see if you can find a place for this on your schedule. Maybe it could be one of those really popular TV Movies that won so much critical acclaim like My Sweet Charlie. Patty Duke played an unwed teenage mother who hides out with a hunted black civil rights activist on the run. Or that prison drama, The Glass House with Alan Alda and Vic Morrow that blew the lid off the correctional system. Controversy makes good press and TV was taking on some challenging issues now. Why not this one? TV was getting racier what with, All in the Family See what you think of this bizarre plot.
The new social worker from Family Services makes a house call, one she volunteered for. We meet the mom, Ruth Roman and her two alluring and slightly trashy daughters. There is talk about The Baby and when we finally see him he is a full-grown man crawling around on the floor like a baby. He can’t talk either. He just cries and whimpers like a baby. He has toys and an awfully big crib. Strange, yes? Anjanette Comer as the social worker is surprisingly friendly and seems to take all of this in stride. She starts spending a little too much time at the house. Meanwhile one night while mom and her daughters are out the cute young babysitter fends off her boyfriend’s dirty talk over the phone long enough to tend to the baby, who’s really a big guy. He gets out of hand and to quiet him down she begins to nurse him. Mom comes home and begins to beat her savagely with a belt for putting her tit in her son’s mouth. The bloodied girl runs screaming out of the house. Whoah! Where is this going?
The middle of the films slows down as The Worker, that’s what they call her, advocates for Baby to be given a chance to grow up. She wants to put him in a program and offers to take him there herself. Mom gets very possessive and defensive. Things perk up when one of the daughters takes an electric cattle prod to the kid and tells him, “Baby never walks, Baby never talks.” Mom comes home and guess what, she zaps her own daughter. The worker goes home and watches slides of her husband and cries. Her mom comforts her. There are a lot of women in dark rooms crying. Things start to heat up again at the big party scene for Baby’s birthday. There are lots of hippies and hippie music. Seems that Mom and her daughters have a lot of degenerate friends. Finally our social worker is in some real jeopardy here. She gets tied up and baby comes to the rescue. She flees with him.
In the last part of the picture we get some long awaited suspense as Mom and her two daughters close in on the house with The Worker and their baby. There are knives, long falls down the stairs and a particularly nasty hatchet. At this point nothing more will be revealed. Just know that you are in for one really bizarre whacked ending. If you are that studio executive, right now you’re calling writer Abe Polsky into your office and asking him just what in the Hell he was thinking with that ending. What the Hell is this picture about? We get some trashy tempting daughters but no romance or sex. There are practically no men in the movie except for that degenerate hippie at the party that burns his finger with a candle and the baby. The baby! What is with the baby here, Abe? Where are you going with this?
What is most odd is that director Ted Post gives this all a matter of fact blasé attitude. Here’s the mom and her two grown up daughters and the grown up son in his crib. He treats it all very pedestrian. Right from the start we see this montage of the kid under the credits as he grows up and never leaves his baby crib, always dressed in diapers. There is some passing conversation between the worker and a doctor but there is no explanation for the baby’s condition. Was he beaten every time he showed signs of growing up, threatened with that cattle prod every time he tried to stand up or talk? Was he born with a rare condition that brought his development to a halt? We’re never told. At some point, too the choice was made to dub in the voice of an actual baby crying for David Mooney’s performance. It is just plain weird to hear that badly dubbed baby voice coming out of a grown man’s mouth. You can’t take that seriously. He had voiced his own crying and whimpers when it was shot. Ruth Roman who was so alluring in Hitchcock’s Strangers on a Train gives a good performance as the deranged mother. Her over the top histrionics recall some of Joan Crawford’s later more macabre/trashy/camp films. If you see this picture at all, and you make it all the way to the ending, you will get a shock that you likely never saw coming. So can we put this on next Wednesday night after The Dating Game or do you want to put it in the theaters?
Video – Color, 1.77:1 enhanced for widescreen. Very nice looking transfer with plenty of detail. Black levels are not deep but passable. Any portions that appear on the soft side are likely due to the style of shooting that was favored. It presents very much like a TV Movie from the era.
Audio – Mono. All dialogue is clear and easy to understand. The mix is limited though functional with only some interiors sporting too much echo. The only part that stands out as off is the obviously dubbed sound of the baby’s cries. They never quite match with either the actor playing the baby or the overall tones of the rest of the film.
Extras – The menu lists an Interview with Ted Post and an Audio interview with David Mooney (The Baby), though in fact both are just recorded phone calls. The audio for director Post must have come from a very poor connection. His muffled voice carries on as footage from the film plays for us to look at, sometimes without him for sections. He expresses that he had trouble connecting with the film at all and did his best to give the characters some redeemable motivations. There are also a few trailers. Horror Express looks good!
On a scale of Poor, Fair, Good, Excellent, Classic.
DVD – Good
Movie – Fair
Friday, October 14th, 2011
Experience the Italian horror maestro’s gore classic as you’ve never seen or heard it before, digitally restored and remastered!
October 3, 2011 (LOS ANGELES) —
A listing of theaters and dates is attached; all screenings will take place on October 21 & 22, 2011, except where noted. Theaters and showtimes are online now at http://www.blue-underground.com/zombie/
See the new trailer for ZOMBIE:
The late, great Lucio Fulci is known to horror fans for such wildly imaginative and outrageously gory films as THE BEYOND, HOUSE BY THE CEMETERY, and CITY OF THE LIVING DEAD; his influence continues to be felt in the work of contemporary genre directors including Eli Roth (HOSTEL, CABIN FEVER) and Guillermo del Toro (HELLBOY, PAN’S LABYRINTH).
Originally released in Italy as an unofficial sequel to DAWN OF THE DEAD, Fulci’s ZOMBIE is arguably the director’s most popular movie and remains one of the most eye-skewering, skin-ripping, gore-gushingly graphic horror hits of all time! ZOMBIE stars Tisa Farrow (THE GRIM REAPER), Ian McCulloch (CONTAMINATION), Al Cliver (CANNIBALS), and Richard Johnson (THE HAUNTING).
Blue Underground is proud to present ZOMBIE in a new 2K High Definition transfer from the original uncut and uncensored camera negative. Each frame has been lovingly restored to perfection under the supervision of cinematographer Sergio Salvati (THE BEYOND), and the soundtrack has been remastered in 5.1 Dolby Digital Surround Sound to create the most pristine, mind-blowing version of the movie ever seen.
“We are very excited about this theatrical release of ZOMBIE,” says Blue Underground founder and president William Lustig. “We spent hundreds of hours working by hand to restore every frame of the movie. When we premiered our restoration of the film at Fantastic Fest in Austin, fans told us that ZOMBIE looks like it was made yesterday!”
For a look at how Blue Underground meticulously restored Lucio Fulci’s ZOMBIE, visit:
http://www.youtube.com/watch?v=NzcDDgU8WK4&feature=related Blue Underground’s Ultimate Edition of ZOMBIE will be released as a 2-Disc Blu-ray and 2-Disc DVD on October 25, 2011.
When I first saw ZOMBIE, my mind exploded! After the movie ended, I didn’t know if I had dreamed it, because surely such movies didn’t exist! You are about to see a movie that is created by one of the most brilliant minds in the genre, that is full of ‘Oh, my God!’ moments that you will not believe….visceral satisfaction fully guaranteed! Fulci was a ferocious mind, and ZOMBIE is his most savage movie.” – Guillermo del Toro, director of Hellboy and Pan’s Labyrinth
“One of the all-time great horror classics, Fulci’s ZOMBIE contains the greatest scene ever committed to celluloid, and that is a zombie fighting a shark. Fulci put a stuntman dressed as a zombie in a tank with a live shark and made them fight – it’s one of the craziest, most insane and irresponsible scenes ever put on film. This was 1980, years before CG. And the zombie wins! To this day, nobody knows how in the hell he did it, it’s simply jaw-dropping. There’s nothing you will see in any modern zombie movie that comes close to what Fulci did in 1980. Viva Fulci!”
– Eli Roth, director of Hostel and Cabin FeverFor more information about Blue Underground, visit
www.blue-underground.com. Follow Blue Underground on Twitter at
www.Twitter.com/BLUnderground. About Blue Underground:
BLUE UNDERGROUND’S goal is to bring cool movies to fans all over the world in beautiful, Criterion-level special editions. They are definitive discs of some remarkable films, all fully restored, remastered and packed with the most mind-blowing extras in the business. We look for fun movies to release, undiscovered films, and films that are really for people that are into movies. We’re committed to bringing these movies out of the dark and back into your life where they belong!
Blue Underground Presents Lucio Fulci’s
Limited Theatrical Release
Midnight, October 21st & 22nd
(except where otherwise noted)
Guild Cinema (Oct. 28 & 29)
Alamo The Ritz (Oct. 24 & 31)
Alamo S. Lamar (Oct. 30)
Coolidge Corner Theatre
Music Box Theatre (also Oct. 28 & 29)
Capitol Theatre (Oct. 15)
Landmark Inwood Theatre
Landmark Main Art
Landmark River Oaks
5 Points Theatre
Theatre 7 (Oct. 31)
Liberty Hall (Oct. 21 only)
New Beverly Cinema
Landmark Uptown (Nov. 4 & 5)
NEW YORK CITY
The Oaks Theater
Landmark Ken Cinema
Roxie Theater (Oct. 29 – 31)
ST. PETE BEACH, FL
The Beach Theatre
The Loft Cinema
Landmark E Street Cinema
Warren Old Town Theater (Oct. 24 & 25)
Alamo Drafthouse Winchester
Park Theatre Café (Oct. 13)
YELLOW SPRINGS, OH
Little Art Theatre (Oct. 22)
The Revue Cinema (Oct. 22 & Oct. 31)
Blue Underground is bringing its digitally restored and remastered version of Lucio Fulci’s ZOMBIE to theaters across the U.S. and Canada this month. The exclusive midnight screenings give fans the chance to experience Fulci’s horror classic as it’s never been seen or heard before in advance of Blue Underground’s release of ZOMBIE on Blu-ray disc.