NEIGHBORS: Delta Psi Beta House Beer Pong Rules (NSFW)

Just in time for the Neighbors Blu-ray and DVD release on September 23rd, we have the official Delta Psi Beta house beer pong rules. Play the way Teddy, Pete and the rest of the frat house would want you to by following these hilarious Neighbors-inspired rules of the game.

Courtesy of Universal Home Entertainment

Blu-Ray Review: THE ROVER

Starring Guy Pearce, Robert Pattinson, Scoot McNary, Gillian Jones, Anthony Hayes. Directed by David Michod. (2014, 102 min).
Lionsgate

I'd like to think the following scenario has probably already happened...

Picture, if you will, Tiffany, Clare and Heather…a teen trio of BFFs all suffering from Twilight withdrawl. They happen to notice The Rover on the shelf at Wal-Mart or among the choices on Netflix or Redbox. Robert Pattinson (who still adorns their bedroom walls in his pasty-white splendor) is one of two co-stars whose name is prominently featured above the title. These card-carrying members of Team Edward gleefully pool their allowance money together to gaze once-again at the man of their dreams without a second thought, never bothering to read the plot synopsis.

The movie begins, taking place in the desert wastelands of Australia ten years after a global economic collapse. There’s a shot of a scraggly old guy sitting in his car, flies buzzing around his face. A few minutes later, his car is stolen by a gang of other scraggly old guys who just crashed their pick-up during a robbery getaway. The first scraggly old guy restarts their pick-up and tears down the highway after them, determined to get his car back.

Tiffany slightly frowns. This looks sort-of like that old movie her dad watches, the one with a bunch of scraggly old guys in assless pants killing each other for gasoline, only the scraggly old guys in this new movie look like her hungover uncle who wakes up on the living room couch each year after the Fourth of July barbecue.

But this movie's bound get better when Edward shows up to save the day, since all these other scraggly old guys are too ugly to be heroes, especially Eric (Guy Pearce), who’s not only ugly…he’s mean, shooting a man just to avoid paying for the gun he needs to kill those who took his car. Right?

Clare thinks, who cares about this dirty old car? What’s so special about it? Where’s Edward, dammit? 

Guy Pearce is sick of Robert's
Donnie Wahlberg jokes.

Wait a minute, Heather slowly realizes with dread a few scenes later. That guy lying on the road holding a gun, his gut bleeding from a gunshot wound...he looks familiar…those eyes…that face…

No! That can’t be Edward! Look at that awful crew-cut, those disgusting brown teeth, the bruised face, the dirty Goodwill clothes! 

But it is him, isn’t it?

Tiffany, Clare and Heather collectively sigh in despair. The Rover is one of those movies where Robert Pattinson demonstrates he’s actually a pretty damn good actor. They’d heard rumors that he hated Twilight and wanted to distance himself from Edward as much as possible, but refused to believe such an awful thing.

To make things worse, Pattinson's character, Rey, is part of the same gang of scraggly old guys who stole the initial scraggly old guy’s car, then left-for-dead after getting shot during the robbery. Worse than that is the revelation Rey is, not only a bad guy (sort-of), but a total idiot who ends up accidentally shooting a little girl.

The girls are deflated…The Rover is no Twilight…not even Water for Elephants. It’s moody, violent and sort-of depressing. They are also increasingly angry that Eric is so obsessed with that stupid car, killing a lot of folks just to get it back. Still, they spent their allowance, and maybe Edward does some awesome shit later on, so they stick-it-out like the loyal fans they are.

For the final scene, The Rover does indeed explain why the car is so important to Eric. Depending on the mindset of the viewer, this coda is either bittersweet or ironically funny. Without giving anything away, trust me, you will not see it coming.

In the end, Tiffany, Clare and Heather are confused and disappointed. They didn’t expect a film driven more by its tone and dynamic performances than the actual story, where long moments of silence and simple unexplained actions says more about these characters than an entire page of dialogue. Nor did they expect Pattinson to let them down by almost completely disappearing into his role (like a real grown-up actor). They may not appreciate it now, but Pattinson’s performance is a revelation. Even then, it’s Guy Pearce who successfully carries the film on his shoulders. We identify with him almost immediately, though some of his actions has us questioning his sense of morality. But after a solemn (and revealing) speech about absence of accountability for murder in this bleak world, Eric reveals a complexity totally lost on the likes of Tiffany, Clare and Heather.

I chuckle at the thought of this entire scenario occurring more than once (and you just know it did), where Twi-hards watch in slack-jawed horror as their precious Pattinson drops the glamour to show he’s capable of more than smoldering and sparkling. The Rover is a bleak, thought-provoking gem that Tiffany, Clare and Heather may not appreciate, nor will anyone expecting a Mad Max retread. If you don't count yourself among that crowd, The Rover is a wonderfully satisfying film which presents a cynical vision of a violent world, yet subtly suggests not everyone has been totally stripped of their humanity.

EXTRAS:

• Featurette: Something Elemental: Making The Rover
• Digital Copy

FKMG MATING:

(OUT OF 5)

(FOR TWI-HARDS)

Blu-Ray Review: THINK LIKE A MAN TOO

Starring Michael Early, Jerry Ferrara, Meagan Good, Regina Hall, Taraji P. Henson, Terrence J, Romany Malco, Wendy McLendon-Covey, Gary Owen, Gabrielle Union, Lala Anthony, Kevin Hart, Dennis Haysbert. Directed by Tim Story. (2014, 106 min).
Sony Pictures

Man, where do I start?

Probably with stating up front I haven’t seen the original Think Like a Man. I have a natural aversion to comedies featuring all-star casts. Movies like this are usually so concerned with making sure everyone gets their time in the spotlight that they forgo such other necessities as character development, a consistent tone and an actual story worth the efforts of the talent involved. The bloated Oceans 11-13 couldn’t pull it off, and with the exception of the original Airplane!, nor could any of the so-called parody films which weigh us down with famous faces to remind us how much fun we’re supposed to be having.

While I can’t compare this obligatory sequel to the original, it’s not really necessary. Think Like a Man Too is a terrible film in its own right…schizophrenic, creatively bankrupt and almost completely bereft of characters we can identify with. Worse yet, it's seldom even remotely funny. That’s a damn shame when you consider the film is loaded with decent actors, whose talents are completely wasted because every character is painted in broad, one-dimensional strokes. All the guys are either hapless buffoons or sensitive studs, while the women are all you-go-girl loudmouths or self-conscious waifs who emerge as glamorous beauties after a single night in Vegas.

Kevin Hart attempts to suck all of the
oxygen out of the room.

Worst of all is comedian Kevin Hart as Cedric, who’s charged with putting together one last big fling for the guys before Michael & Candace’s Vegas wedding. Even though he’s the most famous face in the cast, Hart’s given way too much screen time, which would be fine if Cedric were at-least amusing. But he’s obnoxious, manic, grating and so embarrassingly unfunny that his mere presence ruins nearly each scene he’s in. While his co-stars are busy doing whatever they can to bring some kind of complexity to their shallowly-written characters, Hart is simply unleashed to do his thing. His performance is nearly as painful to endure as Tyler Perry’s Madea. The fact Cedric is also the film's narrator is the straw which breaks the camel's back.

Tonally, the movie shifts uncomfortably between broad comedy (which is seldom funny) and heavy-handed sentimentality on a regular basis, with nearly zero transition from one scene to the next. The most glaring example is a totally out-of-the-blue music montage where the female leads jump out-of-character to become sexy divas in a music video (complete with onscreen end-credits). This scene serves absolutely no narrative purpose whatsoever (and if intended as a joke, I sure as hell didn’t get it). The same goes for all the gratuitous celebrity cameos throughout; the story (such as it is) frequently grinds to a complete halt just to squeeze the likes of Drake and Floyd Mayweather Jr into the movie, for no reason other than to include another famous face.

Considering the entire cast of the first film is back (how often does that happen?), it’s a shame Think Like a Man Too is a hastily-assembled, clichéd and slapdash follow-up. One would think these characters would have something more interesting to do than wander Las Vegas (the film often comes across as a promotional vacation video). We’ve seen all of this before in better movies, like The Hangover. The cast does their best (even Hart, who was probably told to simply be himself), but one can’t help but suspect a bit of contempt for the audience from its creators, who appear content to coast on clichés and caricatures.

I could go on, but man, where would I stop?

EXTRAS:

• Featurettes: The Ultimate Sequel; Lights Camera Vegas!; Comedy Las Vegas Style; Think Like a Man Too According to Kevin Hart
• 6 Deleted Scenes
• Gag Reel

FKMG RATING:

1/2

(OUT OF 5)

THE BOXTROLLS - The Nature Of Creation

The creative team behind THE BOXTROLLS (opening 9/26) pulls back the curtain and reveals how they brought fire, water and earth into their intricate stop-motion animation world in a NEW featurette. 

Bloopers from CAPTAIN AMERICA: THE WINTER SOLDIER

Here's a peek at the Gag Reel from the Blu-ray & DVD release of Captain America: The Winter Soldier, available now from Walt Disney Studios Home Entertainment.

Click HERE to check it out.

Blu-Ray Review: HANNIBAL, SEASON TWO

Starring Hugh Darcy, Mads Mikkelsen, Laurence Fishburne, Caroline Dhavemas, Hettienne Park, Cynthia Nixon, Scott Thompson, Raul Esparza, Eddie Izzard. (2014, 561 min).
Lionsgate

If I were a betting man, I’d have wagered NBC’s attempt to turn the adventures of Hannibal Lecter into a weekly series would go down in TV lore as one of the worst ideas ever (right up there with Joanie Loves Chachi) and unceremoniously canceled after a few episodes. After all, not only is Lecter the most famous and beloved serial killer in movie history, but Anthony Hopkins owns this role just as Sean Connery once owned James Bond. If Hannibal Rising taught us nothing else, it was that nobody cared about Lecter without Hopkins’ icy stare and oily-intellectual delivery. Worst yet, the series starts as an origin story, sans-Hopkins (who's obviously too old), taking place before the events in Thomas Harris’ first Lecter novel, Red Dragon (though featuring many of the same characters). How far could it possibly take a premise we're all well-familiar with?

But lo and behold, Hannibal has managed to stick around for two seasons with a third on the way, and for good reason. The brand name may be familiar, but this is a different animal than any films in the franchise. Sure, it draws its inspiration from Harris’ novels, but the similarities pretty-much end there. Hannibal doesn't achieve the cinematic brilliance of The Silence of the Lambs, nor the over-the-top delirium as the first sequel (sautéed brains, anyone?). This series is darker & moodier, with a tone all its own, suggesting it was never intended as part of the Hannibal Lecter canon, but a different spin on the same characters and premise.

Oh, deer.

By doing this, Hannibal is able to pay homage to the novels and films without sticking to any established history…characters first-introduced in The Silence of the Lambs may very-well end up dying in this alternate timeline. This also allows us to accept Mads Mikkelsen as the title character. He won't make us forget Hopkins, but like Daniel Craig when he assumed the role of Bond, Mikkelsen puts his own unique stamp on Lecter (not-to-mention he's one creepy-looking mofo). Most of the other main characters, including Hugh Dancy as Will Graham, are well-played but not nearly as dynamic. The one ironic exception may be Raul Esparza as the sleazy Dr. Chilton…his delivery and arrogance is eerily similar to Anthony Heald’s in the original Silence of the Lambs, and just as effective in making us hate the guy.

"Salad fork...right?"

Season Two definitely depends on the viewer's complete knowledge of the events from Season One. Hannibal is serial TV in the purest sense of the word. That may eventually work against it, but as of now, the show remains fairly compelling, turning the tables by having Graham accused-of and institutionalized for Lecter’s crimes, while Hannibal himself is ironically recruited in Will’s place to assist the FBI in tracking down the Chesapeake Ripper. There are numerous turns and twists as additional familiar characters from Harris' novels appear (or disappear), especially once reinterpreted elements from both Red Dragon and Hannibal (the novel) are slowly weaved into the story

All the while, those who revel in lurid gore will be sated by some truly gruesome imagery (especially coming from a broadcast network program).

Season Two does a surprising good job of extending a concept which I didn’t think would survive past the pilot episode. But by taking Harris’ characters and doing something different with them, Hannibal continues to be, not only watchable, but one of the more darkly-compelling programs currently on TV.

Damn good thing I’ve never been a betting man.

EXTRAS:

• Documentary: This is My Design
• Featurettes: The Style of a Killer; Bodies of Lies, Hannibal Season 2: Killer Intentions
• Webisodes: Post Mortem with Scott Thompson
• Cast & crew commentaries
• Deleted scenes
• Gag reel

FKMG RATING:

1/2

(OUT OF 5)

Movie Haiku of the Week: SOYLENT GREEN

What is Soylent Green?

These crackers are tasty, but...

Hey...where's my roommate?

DAY OF THE DEAD (1985) and the Supermarket Slaughter

Starring Lori Cardille, Terry Alexander, Joe Pilato, Richard Liberty, Howard Sherman, G. Howard Klar, Jarlath Conroy, John Amplas. Directed by George A. Romero. (1985, 100 min).

Before I decided to make a career change, I worked in the food industry for many years, gradually working my way up to the title of sous chef at a hotel restaurant. My duties were varied…overseeing the evening kitchen staff, making schedules, preparing banquets for wedding parties & conventions, planning dinner specials and, on a few occasions, covering the executive chef’s ass whenever he failed to show up after all-night cocaine binges.

The restaurant business may look glamorous on Food Channel, but trust me, very few in this line of work become rock stars like Bobby Flay. For the most part, the job is high stress/low reward. Working as a sous chef is like being on Star Trek where Kirk makes all the recklessly heroic decisions, then relies on Scotty to bail him out (and considering how frequently they came and went, our dishwashers were similar to the red-shirted rubes on Star Trek who died minutes after beaming down to a new planet).

So yeah, despite my impressive-sounding job title, it was a shitty gig. And like a lot of folks stuck with terrible positions, I often tried to have a little fun on-the-job to alleviate the stress and boredom. Since I usually worked evenings, when most of the other managerial staff was gone, the kitchen crew and I played a lot of practical jokes on others, new employees in particular. Some of the gags were simple, such as spiking someone's coffee with Tabasco or taping all their cigarettes together.

But what I truly loved were gore gags, most of which I learned from Tom Savini.

Savini was a combat photographer during the Vietnam War, capturing images which eventually influenced his career as a movie make-up artist, where he became renowned as the 'Godfather of Gore' for his horrific and bloody special effects. He was also an engaging personality himself, sometimes appearing on Late Night with David Letterman to show how he accomplished his gore gags in such films as Dawn of the Dead and Friday the 13th. I was a big fan of violent horror at the time, and amazed at the simplicity of most of his tricks. All it takes to make movie blood is Karo Syrup and a bit of food coloring. Need to shoot someone in the head? Just attach a blood-filled condom to an actor’s head with a tiny charge to make it explode. To slash someone’s throat with a butcher knife, simply cut out part of the blade to make it look like it’s slicing flesh when pressed against the neck. Need guts? Discarded animal parts from a local meat market work just fine, as long as you keep them refrigerated until you need them (which didn’t happen on the set of Day of the Dead because the refrigerator was unplugged).

Savini’s crowning achievement as a make-up artist were the gore effects in Day of the Dead, George A. Romero’s initially-maligned follow-up to Dawn of the Dead. Where Dawn’s blood and gore was pretty cartoonish, Day’s depiction of bodily dismemberment is far more realistic, and the zombies themselves truly look hideous, some literally falling apart as they walk. The effects still hold up today, better than many modern zombie films (including Romero’s own follow-up, Land of the Dead). This is because flying limbs, exploding bodies and bullets-to-the-head just aren’t very convincing when rendered in CGI (just compare the 1982 & 2011 versions of The Thing if you’re still in doubt). When it comes to bodily mayhem, there’s still no substitute for good old fashioned practical effects. As Savini demonstrated with Day of the Dead, it was possible to create some truly disgusting make-up effects simply by visiting the grocery store.

And I had most of this stuff at my disposal in the hotel kitchen!

The typical reaction to a new Robin Thicke song.

Hence, there were numerous occasions on slow nights that one of my line cooks suddenly began coughing up blood, or stumbled into the wait-station with a meat cleaver buried in his forearm (a gag stolen from Day of the Dead). We usually attempted these gags on brand new employees, mostly the waitstaff. Our pranks didn’t always work because most of us weren’t what you’d call convincing actors (my grill cook, Eric, could seldom contain his laughter). But when they did, it was magical. I’ll never forget Patti’s horrified face when my prep cook, Antonio, asked her for a Band-Aid because there was a meat thermometer lodged in his neck.

My personal favorite was when we convinced a waitress that I’d been bludgeoned to death with a meat mallet by another staff member. For this one, Antonio and I actually made an effort to set the stage beforehand by faking a heated argument for the sake of our newest waitress, Tina, who was working her way through college at the time. I ‘fired’ Antonio in a fit of anger. He tore off his apron and threw it to the floor, yelling, “This ain’t over! You just watch your back motherfucker!” Then he stormed off, shoving a stack of onion ring baskets to the floor as he left (a nice touch…Antonio was always the best actor of the kitchen staff).

Anyway, about a half-hour later, Patti (once a victim, now a co-conspirator) told Tina to go into the walk-in cooler in the back of the kitchen to get more parsley for garnishing plates. As she opened the door, there I was, lying on the cold floor, head drenched with Karo Syrup and red food dye. A few feet away was a bloodied meat mallet, chunks of leftover pork hanging from the protrusions. Antonio originally suggested cutting some of my hair to stick on the mallet among the meat, but I nixed that…I’m no method actor. Besides, the gag was convincing enough as it was.

Tina didn’t scream, though that would have been music to my ears, like the old Hollywood cliché of all females screaming uncontrollably when confronting a dead body. What she did do was run and grab the kitchen phone outside the cooler, dialing 911 to report the incident. Suddenly, I couldn’t get off the floor fast enough. I grabbed the phone from her hand and hung up. She looked at me incredulously, just as Antonio burst from my office nearby, laughing his ass off. Then I started giggling, too. That’s when Tina slapped me really hard (which made Antonio laugh even louder) and stormed back to the wait-station, forgetting the parsley. I don’t know if they had Star 69 or instant call-tracing back then, but fortunately, no cops showed up.

I think part of the reason I enjoyed this gag so much is because Tina was arrogant and full of herself, always reminding the rest of us she on her way to better things, and working in the food industry was beneath her. Apparently having no sense of humor, she may have also been upset at being duped by folks she thought were intellectually inferior. Tina didn’t speak to us too much afterwards and quit a few weeks later.

I eventually hated my job enough to go back to school and earn a teaching degree, a much more rewarding profession (at the very least, I don’t come home reeking of onions). Still, part of me sometimes misses doing those awesome gore gags, which were a great release from the thankless stress of restaurant work. Doing such pranks in my current job as a middle school teacher would get me fired six ways from Sunday. Still, if I were to win a Powerball jackpot, I might just consider going out in a blaze of glory and burn my bridges as spectacularly as possible…by using Tom Savini’s timeless techniques to simulate my violent death in the middle of class, traumatizing the little bastards.

At the time, Savini’s effects were the saving grace of Day of the Dead, a movie initially criticized as slow and overly talky, though today it’s considered a cult classic. But personally, I prefer to look at Day of the Dead as more of an educational film, a movie which inspired my creativity while working in a thankless profession.

Blu-Ray Review: PERSON OF INTEREST: THE COMPLETE THIRD SEASON

Starring Jim Caviezel, Michael Emerson, Sarah Shahi, Taraji P. Henson, Kevin Chapman, Amy Acker. Various directors. (2013-14, 1001 min).
Warner Bros.

The cool thing about Person of Interest is it has been allowed to grow over three seasons. Recurring characters come and go, others are gradually introduced to become beloved regulars, while the initial core of primary characters become more interesting and endearing as the show moves forward. That’s not to say the viewer will be totally lost if they haven’t seen the program from the beginning. One thing POI has done very well is make certain newcomers are never completely bewildered, mainly by balancing long-running plotlines with stories that are effectively wrapped-up in a single episode.

"Why, yes...I do feel somewhat emasculated."

Jumping-in for the first time at Season Three (as I did), one may feel initially lost, but within just a few episodes, we get a clear-enough picture of the show’s basic concept, ongoing story arcs and character issues, so prior dedication isn’t really required. In fact, with The Machine’s power steadily growing (its overall objective increasingly ominous) and the rogue team’s conflict with the deeply-corrupt NYPD reaching an apex, Season Three might be the perfect time to jump on the bandwagon (this is arguably the most action-filled, twist-laden year so far). Those who’ve been with the show all along will be stunned by two of the season’s biggest bombshells, the untimely death of a major character and the possible existence of another surveillance program similar to The Machine.

The team argues over who has to take Bear outside
to do his business.

Most episodes are intricate, fast-moving and, considering a concept which (we hope!) borders on science fiction, the twists and turns of events at least seem plausible while we’re watching (though probably wouldn’t stand up to much scrutiny). What ultimately makes the show work, however, are the characters, both new and established. Jim Caviezel as Reese, the resident ass-kicker, is solid as usual, but stealing some of his thunder is Sarah Shahi as Shaw, a former CIA assassin introduced in Season Two, now part of the team. Her penchant for solving all problems with guns is an amusing running gag which makes her somewhat endearing (especially the few moments when she actually lets her guard down). On the opposite end of the spectrum, Root (Amy Acker, also introduced in Season Two) plays a darker, more ambiguous role. She aids the team on numerous occasions, but The Machine appears to have bigger plans for her (which even she isn't completely aware of).

For season-long disc sets to be worth buying, they need to be binge-worthy, and after a few early episodes (which do double-duty of keeping continuing story arcs moving forward while bringing newbies up-to-speed), Person of Interest’s third season definitely qualifies. A long-term suspension of disbelief may be required on occasion, but in the end, these characters are fun and most of the stories (both ongoing & self-contained single episodes) are full of unpredictable surprises.

EXTRAS:

• Person of Interest: The Future of A.I.
• 2013 Comic-Con Panel
• Saying Goodbye to a Friend (creator & cast discuss the loss of a major character…obvious spoilers)
• Bear on Set (featurette about Boker the Dog)
• Digital Comic One-Shots
• Season finale audio commentary
• Gag Reel
• DVD & Digital HD

FKMG RATING:

(OUT OF 5)

Blu-Ray Review: THE DEAD 2

Starring Joseph Millson, Meenu Mishra, Anand Krishna Goyal, Sandip Datta Gupta, Poonam Mathur. Directed by Howard & Jon Ford. (2013, 98 min).
Anchor Bay Entertainment

The Ford Brothers’ 2010 zombie film, The Dead, wasn’t exactly groundbreaking. Aside from its unique setting, the African desert, the film added nothing new to an already over-saturated genre. However, it was well-directed, smartly-written and featured better-than-average performances than the usual gut-muncher. Perhaps it's because of this that The Dead developed a small cult following.

This inevitable sequel offers more of the same. In fact, it could almost be considered a remake, only with different characters and a new locale (India). This time, Nicholas Burton (Joseph Millson) is a wind turbine maintenance man working in India when a zombie outbreak occurs. After learning his pregnant girlfriend, Ishani (billed onscreen as Meenu), is trapped in her home, Nicholas must make a 300 mile desert trek to try and save her. Along the way, he saves and befriends Javed, a young orphan whose familiarity with the land proves valuable. Most of the movie’s running time is comprised of this harrowing journey, where these two confront, not only increasing zombie hordes, but thieves and the military (who are shooting anyone who even looks like they’ve been bitten).

Once again, the dead are wisely presented as slow, lumbering creatures whose sheer numbers are scarier than modern Hollywood zombies who can outrun you. Their soulless gazes are especially unnerving, resulting in a few truly creepy moments when they’re hungrily peeking in at our heroes like undead Peeping Toms.

"Extreme Make-Over? I'm your man."

The Dead 2 does so many things right that it’s a shame how quickly it begins to unravel. Like the first film, it’s obvious the Ford Brothers have a loftier agenda than mindless bloodletting (though the violence is still pretty potent). But despite the focus on characters over carnage, the film’s middle act is meandering; there are many scenes which seem unnecessarily padded-out. The dead-serious tone of the film also grows increasingly oppressive, especially a harrowing scene showing Nicholas’ brutal solution to saving a mother and child trapped in a car. Maybe it's because I have kids, but this scene, though totally logical, sucked-away any remaining fun I was having (which was dwindling anyway).

The film falls completely apart at the end, with an abrupt climax which has the viewer wondering if the Ford Brothers simply ran out of ideas, or money, or both. I have no problem with any horror film ending on an ominous note, so long as it’s well-earned. Here, this out-of-the-blue, dark coda feels suspiciously tacked-on, as though the Fords thought a cinema sucker-punch was the best course of action. That’s a shame, really, since the scenario they’ve created could have easily lent itself to a more realistically-optimistic conclusion without cheating hardened horror crowd.

Fans of The Dead might enjoy this rehash. Most of the same elements are here. Still, one can’t help but feel this film would have been better if, instead of telling the same story in a different setting, it provided something new to the proceedings we haven’t seen before. Hence, The Dead 2 is nothing more than a competent-yet-unremarkable zombie survival tale.

EXTRAS:

• The Making of The Dead 2
• Deleted Scenes

FKMG RATING:

1/2

(OUT OF 5)