Le Vestige des morts-vivants

Much better than I expected..i wasn't sure what to expect after the let down that was Diary of the dead but this is much better.

Its a nice idea, developed well and beautifully shot.There are good performances and a lovely touch of dark comedy.I enjoyed this film.

The main thing that marred it for me- and most people wouldn't notice but its my pet hate- is the cgi blood splatter and effects.STOP IT! you can always tell and it looks fake as hell.

I'm not 100% sure that survival is an 8 out of 10 but it followed a godawful vampire comedy called Umbrage and anything would have seemed good after that. Its a solid 7 at least and worth watching. Nice to see Romero back on almost top form.Welcome back George...there are lots of people trying to copy you but none come close.

In any case if it wasn't for this and Carriers Frightfest would have been crapfest.

I did not dislike this film for the most part like so many others seem to have. I liked parts of it, I thought it would have been better had it simply followed the national guardsmen of the "Diary of the Dead" film rather than having the feuding island clans plot, but it at least was not boring. I would give this one a seven, but the use of computer generated kills and blood made me lower the score a point. I never thought George Romero would resort to using computers to do his gory kills. Still, there is enough none computer kills that I will only lower the film a point rather than two. The film follows those wacky guardsmen from the Diary movie which I liked as it seems more like a sequel film than any of the previous Romero movies. Though this one can survive independently of the previous movie as well, the only thing one might be curious about had they not seen that movie is the scene where the one guardsmen goes over there scene in that film. Well they end up going to an island where one group believes they should try to kill all the zombies on the island while the other thinks they should try to coexist with them. The zombies look good at times and there are a lot of them. So as far as zombie action goes this one does all right. I just wish the film could have done more with the national guardsmen just going from place to place rather than bogging the film down a bit on the island of the living dead and incredibly stupid people.

Well, it's not nearly as bad as Diary of the Dead. In fact, I'd call this George Romero's best zombie movie since Dawn of the Dead. That's honestly sad. Taking a minor character from the previous film and making him some sort of proto-protagonist in the middle of a familial feud that doesn't actually involve him, Survival of the Dead doesn't really work, but it's not nearly as much of a disaster as what Romero had been putting out over the previous few years.

Sarge (Alan van Sprang) leads a small unit of military officers a few weeks into the zombie apocalypse. After stealing all of the supplies from the college students of Diary of the Dead, he encounters some good ole boys in the woods who have decapitated a group of zombies, leaving their moaning heads on pikes. This is overwrought stuff, recalling the emotionally unmoored yelling predominant in Day of the Dead. Thankfully, though, it doesn't last long, the group killing all of the good ole boys and picking up Boy (Devon Bostick). This exists in comparison to the opening on Plum Island, off the coast of Delaware, where we see the exile of Patrick O'Flynn (Kenneth Welsh) by Seamus Muldoon (Richard Fitzpatrick) over the question of what to do with the recently undead: kill them or preserve them in the hope for a cure.

So, this opening points to a major issue with Romero's dealing with the undead in his work since Day of the Dead. There has been this on-again, off-again effort to make the zombies sympathetic which contrasts wildly with the glee with which Romero films the killing of the undead. It's this real whiplash between efforts to use them for pathos reasons in one scene followed immediately by something like Sarge blithely shooting a flare into a zombie, which bursts their head into flame. He then lights his cigarette with the fire before kicking him off a boat. Were we supposed to sympathize with that zombie? Or were we supposed to just clap along with the violence? Romero is trying to have his cake and eat it too.

So, the army group heads to a port where O'Flynn has set up, sending out an internet video (that the internet still works more than a month into a zombie apocalypse either shows that the internet is super resilient or that the apocalypse isn't that bad) that attracts people with promises to Plum Island which end up being a trap. There's a shootout leading to the stealing of a barge, and O'Flynn ends up on the barge, acting as guide to Plum Island for the army group. The actual meat of the film is when they reach Plum Island. This is really a western filled with Irish characters set on an island off the eastern coast of Delaware (probably the best of its class!), and it's about two families at war with each other. The business of getting Sarge and his men to the island is really just because Romero had plans on making this the first of a trilogy that were probably going to star Sarge and however many of his group survived.

The conflict between the O'Flynns and the Muldoons is decently built with this emphasis on Muldoon trying to find a way to get the zombies feeding on something other than humans to try and save them. Romero films largely outside, and he takes in the sights well. There's a nice image of a zombie girl riding a horse that looks good but ends up making no sense when Muldoon tries to get her to eat the horse. If she's been riding it for weeks, why would she suddenly start eating it? I dunno.

Anyway, it's a decently put together series of events that work a bit better in isolation than strung together. It entertains basically enough while never really coming together as a complete film. Sarge and his group are out of place in the film's actual story. The zombies may be rehabilitated idea is underdone. O'Flynn has twin daughters (Kathleen Munroe), but the existence of the second is hidden for about half the film for some reason even though the first is in the opening scenes. There's also another overarching concern over cash that is so out of place if the world has actually collapsed, Romero apparently not understanding that the value of currency would vanish in a world where the government no longer backs its fiat money with its ability to tax since, you know, it's collapsed. I mean, cash is a great MacGuffin, but it doesn't work when cash has no value. In addition, it just gets forgotten for more than half the film. It's weird.

So, it's not good. However, it's decently performed (a huge step up from Diary), it looks surprisingly good, and it has some entertaining individual moments. Romero has lost all ability to make his films about something, and his efforts here are embarrassing. Still, as a neo-Western filled with Irish characters set on an island off the eastern coast of Delaware, it's not terrible.

I've always complained about so called "Zombie movies" that are actually just movies from any other genre with zombies. That's what this movie is: A shooter with zombies. Romero defined the Zombie genre, and he's now out of it. This was officially not a zombie movie.

There's been many attempts before. When-bugs-attack + zombies, teen flick + zombies, prom-night + zombies, etc,etc. Out of all those weird cross-gender movies, this is one of the best I've ever seen. It'll still get many negative reviews for a simple reason: People is judging it as a Romero movie, and at that, it sucks. And it's fair that people do that. They go to the movies expecting a Romero movie, and they get this. I would've been disappointed too if I'd expected that. I watched this sort of expecting a crappy movie, and I got a better-than-expected non-zombie flick. Not a bad deal.

The plot is certainly shallow, but the characters are still interesting, even if a little bit more empty than the usual lead roles from good old George A.

The deal is, there's nothing more to look for in Romero's movies. The social commentary is still there, except this time it doesn't really make sense. At a point, it looked like it was heading towards an anti- religious view of things (euthanasia), which looked interesting, but it dissipated into an old cheap western ending.

My theory:

George died at the end of the shooting of Land of the Dead, and both Diary and Survival where delivered but the Zombie of George Romero. Not bad (for a zombie).

25 years ago, I sat open-mouthed in awe of the intense visceral horror experience that was George Romero's Day of the Dead; today, I sat jaw agape once more at the director's latest zombie flick, Survival of the Dead, although for a very different reason: utter disbelief!

How could George Romero, the creator of the modern movie zombie, get everything so totally wrong?

With Survival, it looks like the director has finally taken on board the criticism aimed at his last two films and ditched the heavy-handed social commentary (the messages are still there, but are far less 'in-your-face'); unfortunately, somewhere during the creative process, he's also unwisely opted to up the level of comedy, meaning that much of this film plays the global zombie threat for laughs.

Remember how Romero used the slapstick custard pie scene in Dawn of the Dead to momentarily relieve the tension? Well in this one, it's all 'custard pie' and absolutely no tension. During the course of the film, we get to witness several cringe-worthy comedy zombie slayings, a hilarious bitter feud between two stereotypical Irish clans, a zombie woman on horseback, a car ferry strangely moored in six feet of water, zombie fishing, plus loads of other nonsense that beggars belief. Not once, however, do we get a sense of dread. The closest Romero ever comes to delivering the goods is with a couple of cheap jump scares that are accompanied by loud noises and some admittedly splattery gore (that relies a little too heavily on CGI for my liking).

Had Survival of the Dead been made by anyone other than Romero, then I may have rated it as high as 5/10: it's never boring, I suppose. But coming from the guy who practically invented the genre, the film can only be seen as a massive disappointment—easily the worst of his 'Dead' films to date—and therefore fully deserves my lower score of 3/10.