Pretty much every year now there seems to be some kind of new take on
the zombie subgenre.
Still, the hardcore horror nuts may be turned off by the lack of violence and gore typically shrouding
the zombie subgenre...»
I think this one should be rather obvious but, just in case it needs to be said, this is the man who essentially created
the zombie subgenre.
Not exact matches
It's incredible to think that in the short 10 years since the release of «Shaun of the Dead,» the
zombie comedy has practically become its own
subgenre, even spawning several «rom - zom - coms» (romantic
zombie comedies, a term coined during the marketing for that film) in the process.
The 1996
zombie game Resident Evil was the foundation of the «survival horror»
subgenre.
The film features winks to other
zombie titles whilst remaining thoroughly original amongst the
subgenre of films (it's certainly no horror film, that's for sure) plus multiple Twin Peaks references and one particularly wonderful nod to St Elmo's Fire.
For one, it saw the release of Night of the Living Dead, George Romero's low - budget, immensely influential
zombie thriller, which essentially birthed an entire
subgenre of horror films.
A decent cast and competent direction from promising Irish first - time feature filmmaker Ruairi Robinson are wasted on a derivative story with The Last Days on Mars, which is yet another entry in the already overcrowded «
zombie infection»
subgenre.
Like Happy Death Day, many of the year's highlights, which toyed with or injected life into often - tired
subgenres, came in smaller packages, such as the home - invasion thrillers Better Watch Out, The Babysitter (another Netflix original), and Jackals; the clever
zombie - in - the - desert flick It Stains the Sands Red (much better than the silly cannibal - in - the - desert - flick The Bad Batch); the flesh - eating family drama Raw; the blood - sucking confused - teen drama The Transfiguration; the sci - fi / fantasy / horror hybrids The Void, The Untamed, and The Lure, which also had elements of the musical; and the ultra-disturbing tale of youth Super Dark Times, about the unraveling of a group of friends after the accidental killing of a classmate, which offers a significantly more satisfying experience than It.
The very concept of Nazi
zombies has become a weirdly prolific
subgenre.