George Romero is the master of zombie horror and the maestro of political commentary.
He refuses to differentiate between humans and zombies; rather, he points to their similarities.
As Nicki Minaj might sing, the night (and mayhem) is still young.
Their slow gait and vapid expressions are no different than that of a passive window shopper.
The exclamation, Lets go shopping!
The protagonists are rabid consumers, who are as ridiculous and cartoonish as the zombies in their insatiable greed.
In these shots, Roger and Peter are often filmed through the glass windows of a department store.
The cinematography symbolically separates viewers from these men by placing a literal barrier between the camera and the characters.
The audience witnesses in detail the remnants of these beings former lives.
If this were 2016, shed be Instagram ready after pilfering an iPhone.
As Courtney Love sings in Doll Parts, Fran wants to be the girl with the most cake.
The humans violent natures are accentuated when a biker army threatens their haven.
He regards it momentarily before replying, I dunno and tosses it aside.
The bikers kill not to defend themselves, but because they have turned killing into a sport.
The zombie is not aggressive or antagonistic; he merely studies Fran thoughtfully before he moves on.
Dawn of the Deadis what Beth Accomando calls Romeros taxonomy of horror.
Nothing says success like accruing one too many possessions.
