As far as the scares are concerned, I am not scared. Lucky for George, he has plenty of other colors to paint this wall with something else.
If Night Of The Living Dead is confined, specific, Dawn Of The Dead is all over the place. Showcasing all the repercussions and boasting all the showcased scenarios. For the second one, the writer and director, George Romero is pushing himself along with the storyline. The social satire, just like and unlike the previous chapter, has aged well. Though the previous chapter didn’t value what is currently prioritised, it surely on the other hand whips what we shouldn’t value. That analysis or theory of the film is represented visually and is stated with an isolated personality which is personified as a part of a branch of a structure. If not character driven, these scenarios in its world wouldn’t hold any place. But this is where George takes his time. He enjoys these moments. And this idea is scary. Something that translates to the filmmaker itself. If there is no joy, you are not emotionally attached, you are not tapping to their beat and not bobbing your head to their plans, you will never survive. And to survive is to be gifted in this film. The very thought of an escape is celebrated. And just like the franchise always does, the humans are the troubled bodies bouncing inside these walls. Them taking things for granted, overconfidence in their capabilities and exploitation of the gifts of nature. You see even after we are dead, we are a slave to that cycle. It keeps spinning and is eating us alive or even dead in this case. There are similar patterns in their behaviour, heavily armoured or numbingly defensive, it’s eventually the same thing.