El día del apocalipsis

A transport plane crashes into the water supply of a small Iowa town. Some of the townfolks become infected and turn crazed killers. Sheriff (Timothy Olyphant), his wife (Radha Mitchell), his deputy (Joe Anderson), and a girl from town (Danielle Panabaker) need to escape not only the crazies, but also the military sent to contain the population.

This is remake of a George A. Romero movie. It's not that complicated. It is a horror movie done classically without the jokey references or overt sexualization. There are no gross out jokes or T&A. It is just simple tense horror done right. The scariest scene has to be the women tied down on the gurneys, and a crazy walks in. If you want simple horror, this is all you need.

This remake of the 1973 George Romero film sees the rural Iowa town of Ogden Marsh become unhinged when it's residents begin exhibiting odd behavior, usually culminating in acts of violence. Sheriff David Dutton (Timothy Olyphant) is at a loss to explain what's happening to the people he's known all his life, but the discovery of a dead pilot in a marsh leads him to the answer, a downed plane infecting the town's water supply. It isn't long before the military has blocked all methods of communication and descended upon the town. Determined to render a final solution, they don't intend to let anyone out alive.

Following the basic setup of the original, this update expands upon the story and throws in a few new directions and surprises. If you ask me, there was plenty of room for improvement. Romero's film is decent, but highly flawed. You could blame the budget, but Romero's done some fantastic work with low budgets. It definitely had bigger problems than that. This is the type of remake I wish there were more of, the type that can improve on a weak original. We spend the majority of the film with the four main characters as they attempt to escape the madness; David, his wife (Radha Mitchell), his deputy (Joe Anderson) and his wife's secretary (Danielle Pannabaker). I was already a fan of both Olyphant and the lovely Mitchell before viewing this, and they're once again in solid form here. This is basically Olyphant's show, and he owns the screen when he's on. I'd love to see him get more leading roles after this. Anderson and Pannabaker are also impressive, getting me to care about the fates of their characters, something that many horror films have a hard time doing. One of the major differences between this and the Romero original is the lack of focus on the military's point of view this time around. We spend the duration seeing the events from the perspective of the leads and various other townsfolk. While the POV shown in the '73 film did offer some levels of interest, I think it works better as far as menace goes to not do that here.

The crazies themselves are well rendered, each person reacting differently to the virus. Some are completely gone while others still retain some semblance of a thought process, the hunters for instance. After seeing the trailer, I was worried that they'd turn this into another zombie movie, but I was happy to see that wasn't the case. Speaking of the crazies, Lynn Lowry (of the original, Shivers, I Drink Your Blood, etc.) pops up very briefly as one of them. A nice little nod there, and I noticed another potential nod to a similar film, 1984's Impulse, in which contaminated milk leads people to act on their base impulses. A scene of Olyphant running after a mysterious vehicle that has been documenting the carnage mirrors a sequence from that picture. Also of note is Maxime Alexandre's gorgeous cinematography. Eisner was smart in getting him, as he's done equally stellar work for Alexandre Aja in the past. Thankfully, the use of CGI is minimal. In fact, I don't believe any pops up until the end, and when we get to that, it actually works just fine.

The film is peppered with a number of suitably tense set-pieces, particularly one involving a pitchfork, a scene in a car wash and the aforementioned ending. On the downside, there are a few cheap jump scares thrown in. The music also struck me as being rather pedestrian at times. Overall though, I can safely say I'll be returning to this one more often than the 1973 effort.

What I really love about this movie, was the main character. He really did the whole movie for me.

Usually, in zombie movies or "OMG it's a horrible disease that spreads quickly!" movies, the characters wait around until the story forces them to act. But not in this movie! This movie's protagonist takes the initiative, he isn't waiting around to be killed once he gets the gist of things. He starts off trying to help legally, and then resorts to the illegal.

He was & is a well written character, his actor was fine as well but not something too amazing or interesting.

Pros:

Well written protagonist & support Cool and somewhat realistic plot Well done action scenes

Cons: It takes a bit of time 'till the story kicks in, but I believe it's worth the wait

The Crazies, a remake of a seldom-seen 1972 George Romeo film, is about a small town whose inhabitants drink tainted water and become deranged. The movie is slick but still terrifying, relying not only on wacked-out effects but also on unadulterated suspense to really rattle your nerves.

At a Little League game in Ogden Marsh, Iowa, a man wanders into the outfield carrying a shotgun. When the man raises the weapon, Sheriff David Dutton (Timothy Olyphant) shoots him dead. But the man wasn't drunk, he'd just gone crazy. Dutton investigates further, with the help of his deputy Russell (Joe Anderson), and discovers that a plane carrying a deadly cargo has crashed into a nearby creek, thus poisoning the town's drinking water.

From there, events quickly get out of hand, as anyone who'd drunk water from their taps becomes first listless and unresponsive, then mumbly, then completely unhinged. But that's only the beginning of the nightmare for the town, which is then surrounded by a military force bent on containing the virus by any means necessary.

This is only kind of a zombie film. I mean, no one's dining on the flesh of their living compatriots, there's no shambling, and mindless killing. (There's plenty of killing, but the afflicted people still have the capacity for reason.) One thing I liked about this was that precious time isn't spend trying to discover the reason for everyone's behavior; attention is focused on the survivors and how they react to what's going on. I also appreciated that at no time does anyone, even the sheriff, have this superhuman ability to know what must be done and how to do it. Dutton isn't a superhero, he's a sheriff.

Another thing that helps a lot is the pacing. Too often, things either move so quickly that you can't figure out what's being done to whom or too slowly so that the suspense angle becomes the boredom angle. This is crucial for a horror film, which basically trafficks in suspense. Director Breck Eisner keeps the action coming without holding up the story (e.g., no drawn-out standoffs when it would look implausible), and there are plenty of creeping-up-on-you moments to choke twelve cows.

Olyphant looks a lot like a younger Bill Paxton here, and he's a good fit - Sheriff Dutton is a solid leader, but he's not an improbable one. He's the kind of guy who rises to the occasion, not surpasses it completely. If you're looking for a movie where the hero is always armed to the teeth and subsequently never gets much more than a scratch on him, this isn't for you. Dutton has to constantly fight with his own instincts and change his attitude during the course of the movie (save everyone, save his wife, save a few people, save himself).

People who make horror movies know they're making them for a pretty select audience. Lots of people don't like horror movies at all, and those who do are somewhat picky about them (particularly with so many big-budget ones from which to choose), so standards are high. It's important to grab that core audience, show them something they haven't seen or haven't seen done particularly well, then smack them upside the head. Classic horror films used the horror of the unseen to great effect, and more-recent genre films try the same thing. (One reason for this is that we've become inured to in-your-face slasher films, because the anticipation of the slasher doing his slashing has largely been eroded. But that's a digression right there.

Basically, if zombie movies in general are your bag, you should love The Crazies. (If you don't like any horror films regardless, there's no way you should see this.) The Crazies is effectively scary, mixing human emotions with raw blood and gore and endless edge-of-your seat thrills.

I didn't know diddly squat about this movie before I saw it, and that's how I recommend you see it also. The back of the DVD case sorta spoils some of the fun, so avoid reading it if you can. All I'll say about the plot is pretty evident from the title and cover picture (a blood drenched pitchfork). This is a movie where chances are you're gonna see someone get it with a pitchfork.

The overall story and theme reminded me of the classic thrillers of the 70s, so it came as no huge surprise when I learned that this was a remake of a 70s George Romero flick. By comparing it to 70s thrillers I mean to say it's the story of a lone protagonist or small group fighting against a grossly overpowering enemy. This sort of "hopeless underdog" theme was probably a result of the political climate of the 70s, when people were waking up and realizing that our beloved guv'meant and friendly corporations were sucking us dry like a 2 hour old wad of Bazooka Joe bubble gum. So this distrustful awakening spawned excellent conspiracy flicks like "Coma", "The China Syndrome", "The Andromeda Strain" and "The Stepford Wives" which flew in the face of the traditional tale of a superhero good guy vs. a clear and present danger, instead showing a more disturbing scenario of a protagonist at the mercy of a far more insidious and often faceless enemy.

What, you're saying? Then who's the dude with the pitchfork? Well broadly speaking, again as you might guess from the title, the enemy is an entire town gone crazy. That's what makes this hit home. With the enemy being our neighbors and friends, it's not like we're threatened by a fantasy 2-headed space beast. Instead the threat is something that exists around all of us. As the actors mention in the "behind the scenes" DVD feature, this is the terror of something safe & familiar which is turned upside down.

In that respect it reminded me of another excellent thriller, "The Strangers" about an ordinary couple terrorized by ordinary people in very un-ordinary ways. Again, no supernatural monsters or (as my title says) no "zombies" are required to instill perfect fear. This is the sort of movie that'll leave you thinking "wow, that really COULD happen." That's the mark of a truly terrifying story.

The acting is fantastic, and although I had never seen any of these people on screen before, I instantly liked every one because they seemed so real and personable. My favorite character was "Russell" who plays a harmless sheriff's deputy, but as the film gets darker, he too becomes more fidgety and cynical to the point where you're not sure what's going on in his head.

Special effects are really good. No obvious cgi garbage. Yes, the film crew really did roll a few trucks and trash a few streets to make the carnage authentic. Makeup also is really convincing, so much that it's more disturbing than the actual gore (which surprisingly there isn't a whole lot of; most of the violence is handled quickly from creative angles that pump up your imagination).

Entertainment value: 10/10. This flick hits you from the very first scene and keeps the suspense rolling through the whole thing. The scares are well placed. Things remain tense without the need for unnecessary kitschy horror clichés... although there's at least one scene where the movie isn't afraid to make fun of itself a little. I'm talking about the over- the-top bone saw scene which was as much comedy as it was horror. Lots of reasons to see this movie so go out and rent it already. You'll never see your neighbors, or pitchforks, the same way again.