Review of Dawn of the Dead (2004) by Mike R — 24 Oct 2012

The new "Dawn" has broken and Zack Snyder has broken out, and quite frankly, I'm surprised that this film is as short as it is, because if the original was going to be mostly action within an overdrawn two-hour - give or take - format, this film would at least be about three hours, what with all of the slow-motion. No, Zack Snyder doesn't really overuse action or slow-motion all that excessively, except in "300" (Woah boy, so much action and slow-motion), but gore, on the other hand, is his thing, though isn't quite as much his thing as it is James Gunn's thing. Boy, this Gunn sure does love his gore, but it's a good thing that he can shift gears quickly, because this film came out a week before "Scooby-Doo 2" came out, and I'd imagine if Gunn stuck to his gory "gunns", - pardon the gun pun, and that rhyme - then we would be looking at some pretty disturbed children. I can think of plenty of people who would say that what "Scooby-Doo 2" ended up being was traumatic enough already, but hey, that's all, well a week into the future for Tim Gunn when this film came out, but until then, we had a new take on a gorific classic with some major gore-heads behind the screenplay, as well as behind the camera, and then when you work in the fact that Zack Snyder's actually a really good director (Shut up people, "Watchmen" was awesome), you're looking at quite the promising rema-oh, I'm sorry, I mean, "re-imagining", as the filmmakers call it. Shoot, if you ask me, I'm glad that they actually have the guts and honesty to bill this film as a re-imagining, because you see so many re-imaginings that call themselves remakes, even though they have the bare minimum of similarity to their source material, and with this film, you better believe that about the only things that are carried over into this film are the aspects of zombies, refuge in a mall, a cool black leader and someone being pregnant, and even then, the difference with this film is that they actually went somewhere with the pregnancy subplot. Of course, the differences don't end there, with one of the biggest differences being the fact that this film is better than the original. Oh yes, that's right, I said it, but don't freak out too much, because as good as this film is, it's still not too terribly awesome, much less "Watchmen" awesome (That should tell you a thing or two about my credibility as a critic of Zack Synder films), and for a couple of reasons.

Now, the original really wasn't quite as "brainy" (Pardon the brain pun) as far too many say, with this film quite possibly being even smarter, and yet, as sharp of a filmmaker as Zack Snyder is, he'll hit his awkward occasions of overambition, even to this day, so you better believe that his directorial debut, a remake of a lauded cult classic, the film hits its moments where it's not quite as assured as it should be. Confidence isn't quite as limited in this film as it is in other Snyder films, yet there are a few awkward lapses in subtlety that do some damage to the film's intelligence value, which is further hurt by occasions in which Snyder, like many newcoming thriller filmmakers, no matter how promising, pulls a manipulative thrill trick, whether it be one of your classically traditional jump scare or, of course, gore that gets to be rather over-the-top in a fashion that is either gratuitous or rather just plain farfetched (Seriously, where did that clean-through head impaling with a croquet mallet stick come from?). Still, it's not like Snyder is entirely to blame for the film's cleverness faults, and I'm not just saying that because I'm a Zack Snyder fan, as James Gunn's screenplay, while generally strong, hits its share of flaws that particularly do some damage, whether it be through some questionable story moments, or through conventions, if not all-out cliches, with the character department being particularly plagued by some shameless conventionalism. Now, due to the acting, direction and high points in Gunn's characterization, most characters feel genuine, while the less subtly crafted characters don't feel too terribly artificial, yet the fact of the matter is that characterization is tainted by unsubtlety, with far too many characters being glaring types with limited exposition, as well as roles and fates that go telegraphed so overemphatically that the story - which relies so heavily upon its all too often predictable characters - is rendered glaringly predictable in quite a few crucial areas. The film is not simply promising, but successful, hitting quite a few high strengths for every low spot, yet what low spots there are undercut the commendable height of the film's high points, while emphasizing natural limitations and shortcoming, to where a final product that, believe it or not, could have actually been truly excellent comes out standing to have more assurance, more depth and altogether more bite. That being said, where exactly the film stands is high enough on the totem pole to make this film not simply a considerably superior re-imaginging (Shut up), but a rewarding effort by its own right, with enough punch and value to make for both a worthwhile watch and promising first taste of Zack Snyder's directorial talent, particularly in the style department.

Predating Zack Snyder's finding full grasp on his style, the film isn't quite the visual stunner that is "Watchmen" or even "Sucker Punch", Snyder's beautiful misstep, much less "300", yet remains strikingly handsome, with Matthew F. Leonetti's photography delivering on neatly detailed definition, as well as coloring and lighting that absorbs bleak griminess in a uniquely stylish yet gritty fashion that compliments the film's dark tones, while Tyler Bates delivers on engaging score work that further intensifies the film's intensity. Once all of this tension comes to a head in the form of action sequences, we're not exactly looking at the quality of memorable action that can most certainly be found in Snyder's succeeding work, but boy, we are still looking at some tight brawls, with thrillingly frenetic staging that may occasionally rely on such forms of classic thriller manipulation as jump scares, yet generally does a fine job of marrying claustrophobic tension, while delivering on gore that may get to be too much at times, yet is generally neat in its messiness, as well as complimented by some pretty sharp practical effects. Certainly, thanks to its having the fortune of being produced in a time with more advanced stylistic sensibilities, this film delivers on style quite a bit more than its source material, and yet, style did, in fact, play a key part in the source material's being underwhelming, as George Romero's original went plagued by more repetitious bang than bite, with what bite there was going restrained by bland storytelling faults that may not have faulted so much that the final product was rendered uncompelling, yet certainly faulted enough for the film to fall short of potential. This film certainly delivers on style more sharply than its source material, yet where it truly accels as both a superior remake and rewarding film by its own right is in the story department, which goes tainted by the aforementioned degree of awkwardness in the atmosphere and faults in the story structure department, but ultimately stands backed by a worthy story concept that screenwriter James Gunn plays up sharply more often than not, drawing more substance and more depth that may still be in limited supply, yet is surprisingly abundant at the end of the day, particularly in, of all things, the character department, for although Gunn's characterization is among this film's biggest flaws, - going tainted by under-exposition and some shameless conventionalism that makes for too many predictable, if not near-artificial characters - at the same time, it is actually what makes this film as good as it is, because when Gunn does, in fact, draw from these characters, it's when he needs to most, thus leaving you to lock into these characters as both humans and surviving companions, complete with layers and depth. Emotional resonance is often undercut with the high points in characterization, yet like the high points in characterization, emotional resonance is there, and much more than it ever was in Romero's original, and for this, credit is not only due to James Gunn for his strengths in the story structure department, but also due to the performers who bring the characters and, by extension, story to life through across-the-board charisma, - both as distinct individuals and as an ensemble tied together by fine chemistry - as well as a few moments of emotional range that define the film's depth, as well as the performances as colorfully memorable and effective. Our onscreen performers deliver, with a certain offscreen performance delivering just as strikingly, for although Zack Snyder hits faults that we've come to expect from both a newcoming filmmaker and, well, him, he ultimately rewards us a fine taste of his talents as a director, establishing both fine style and mostly sharp storytelling, with an atmosphere that presents effective intrigue, broken up by tension, to secure both the aforementioned emotional resonance and consistent entertainment value. Snyder shows high potential, delivering more often than not on a promising film that unfortunately falls short of its full potential, due to what flaws there are within both Snyder's direction and other key aspects of the film, yet ultimately stands as engaging through and through, with intrigue, entertainment value and even a bit of depth that ultimately makes this film not only a considerable improvement upon a touted title, but a thrilling and compelling piece of pure entertainment by its own right.

To break "Dawn", down that is, yet again, the film's total confidence feels limited, thus creating a kind of awkwardness that goes intensified by quite a few glaring lapses in subtlety, particularly in the writing department, which goes plagued by a few questionable story structure points, as well as enough conventions within the plot and characterization to render the story predictable, and aid in the exposure of natural limitations and shortcomings that leave this potentially excellent film to fall short of full potential, yet not to where it prevents the final product from powering through as more rewarding then not, delivering on sharp style, score work and special effects (I am of course not refering to the fake-looking explosion digital effects) to compliment the intensity within the fine action sequences that break up a story whose structuring may be flawed, yet ultimately goes graced with a generally smooth flow and a degree of depth, brought to life by the engrossing performances and chemistry between the performers and the intriguing, generally inspired directorial work by that helps in making Zack Snyder's "Dawn of the Dead" a thoroughly entertaining and consistently engaging superior remake and thriller on its own terms.

3/5 - Good.