One of the saddest, most viscerally upsetting, and difficult-to-watch horror films at the intersection of scientific ethics and bloodthirsty militarism not just because of the God-tier Savini gore FX (arguably among his best) but the emotional, political, and moral realities Romero carves into these people before we see them shredded to pieces—the façade of civility that we dress our barbarism up with being pulled apart into bloody chunks right before our eyes. That subtle sonic pitch shift in that man's scream when his head is being torn off because his vocal cords are stretching and snapping? That’s why I go to the movies. Bub = 🐐

Full discussion on episode 56 of my podcast SLEAZOIDS.

something about I'M RUNNING THIS MONKEY FARM NOW FRANKENSTEIN AND I WANNA KNOW WHAT THE FUCK YOU'RE DOING WITH MY TIME can be so personal

When Bub first cocks the gun, it's one of the great "oh shit" moments in a movie and I love how it pushes Romero's trilogy to a boiling point, a zombie metamorphosis. Sequels should always, always, always aim to evolve ideas set up previously, whether it be social commentary or makeup effects or literally the zombies themselves. In a perfect world, a sequel flips the pillow to the cold side, flexes new muscles, and re-configures what you thought to be possible. Romero's trilogy beautifully follows this through. Each installment is a flip of the pillow.

where can i buy the calendar from this? with the pumpkins. you can reuse 1985 calendars in 2030 i wanna be ready

I love the counterculture microcosm here of the pilot and the mechanic (and Romero's affection for them). Their philosophy of stay out of the way, leave it all behind and start over may not be for everyone, but the alternatives are war, colonialism (I read Dr. Frankenstein's role as being analogous to a "tame the natives" missionary this time around), and techno utopia (science will save us!) so maybe they're the most sane after all.

Savini's best make-up work. Ewwwwwwwwwwwwwww!

Night of the Living Dead was downbeat, but this is clinically depressed. Five stars.

Tom Savini, a special makeup effects genius. T-Dog's Jamaican uncle. A drunk guy who can shoot straight. Bub the world's smartest Zombie. Romero doing what he does best: Making a zombie film not about zombies, but about raw human emotion. Romero's most underrated film.

Romero’s best film, end to end.

Pulling up to the function with my emotional support domesticated zombie named bub (He loves Beethoven & his Aunt Alicia)

"I'm running this monkey farm now"

A bunch or research scientists and army soldiers go slowly mad in an underground bunker trying to find a cure for the zombie outbreak.

A decent zombie movie that doesn't get as much love as it's elder siblings Night and Dawn for obvious reasons as their both classics, but is still a worthy contender although it does start off a bit slow, but soon gets into it's stride plus Sherman Howard is excellent as cover boy zombie Bub, but the breakout character award goes to the bat who keeps flying past in the bunker also the crocodile who's just chilling outside the bank at the start of the movie (not sure if the crocodile is a zombie crocodile or just likes hanging out with zombies?)