Claysaba Excellent, Without a doubt!!

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

ElTotor Without spoiling, I could give one example why this movie is terribly bad: At one point of the strory, the characters know they have to find one tombstone before midnight to stop all the bad things going on. They are in the cemetery on the afternoon, close to end everything. But suddenly appears another character who wants to help them and then they decide to explain everything to him AT HIS HOME and only come back at night in the cemetery when it's almost to late! What the heck! this has no sense at all. And all the movie is like that. Every scene is poorly written, all characters' behaviors are irrational, most of dialogs are just here to give information the to the Spectator just because the director was not able to give them differently, low budget make up and effects are terrible, nothing is scary (unless you're scared by a priest with a toy store makeup holding spaghetti). And the movie isn't even funny (unless unvolontary), it's dead serious and bit pretencious like most of movies from Fulci, the guy who shot 2 movies a year... it mathematically can't be good...

GL84 Following a priests' suicide in a local cemetery, a psychic brings her boyfriend and friends to the cursed town trying to find a way of stopping the supernatural horror afflicting the town when the dead emerge from their graves and get caught up in their plight as well.This was one of the most enjoyable and entertaining Italian gore efforts. Among the numerous great qualities to this one is the utterly outstanding atmosphere present throughout here that literally drips off the screen. This manages to include an old-school Gothic horror sensibility within the confines of a true gore-drenched epic that's utterly nauseating while generating the kind of atmospheric dread that's just infectious as so many scenes here exploit this setup. The opening here, which shows the priests' death in the cemetery that enacts the curse, is a prime example while other great scenes here from the early scenes of the town falling victim to the after-effects of the curse become even better. Breaking windows, cracked walls, disappearing and reappearing bodies, half-eaten corpses showing up out of nowhere, bleeding apparitions and ghostly zombie-like beings that appear out of nowhere all contribute to give this a feverishly delirious pace as these demented scenes produce an amazing atmosphere continuously being utilized one after another by the grand decision on making this one so supernaturally-charged. It's entirely possible for hallucinations, raining maggots and decomposing bodies to walk around here in what's set as a traditional zombie effort here by infusing that story with the supernatural themes present here from the curse that starts here from the opening actions. These are not only incredily fun but get wrapped into the zombie effort which gives this one some outstanding and gruesome zombies scenes, from tose early attacks nad appearances of the ghouls running loose through town in the last half, the attack on the bar patrons and the spectacular scenes down in the underground tunnels that are littered with Gothic overtunres in the skeletons and the general vibe of the crypt which is wonderfully dark, chilling and makes for a superb setting here with the walkthrough of them rising amongst the skeletons and zombies while the action to finally end the curse offers incredibly enjoyable Gothic action as they go up in flames rather nicely. On top of all this great atmosphere, the film features two legendary gore gags that make this one of the messiest, bloodiest films in the genre, which comes from the fact that there's some gruesome makeup on the zombies to give them that familiar decayed look that works so well here. All of these make this one so much fun that the few flaws are inconsequential. The fact is that the finale, through no fault of its own, is one of the most haltingly disjointed and confusing entries that ever was released and manages to really end this on a downer-note as that's something that must be dealt with here. Otherwise, there's not much else wrong here.Rated Unrated/NC-17: Extreme Graphic Violence and Language.

dworldeater City Of The Living Dead is a grotesque, surreal journey to hell from the legendary Lucio Fulci. This is my personal favorite of his work. When a priest commits suicide in the town of Dunwich, he then opens the gates to Hell. Taking nods from HP Lovecraft, this is surreal and apocalyptic in tone and style. While the film is a bit disjointed, it more than makes up for with lush visuals, creepy atmosphere and top notch gore/special f/x. City Of The Living Dead is a Gothic splatter masterwork that makes much of the horror movies at the time look tame. The film succeeds at being both creepy and repugnant at the same time. With truly evil undead with powers of teleportation that rip out your brain Catriona McColl and Christopher George are truly at odds to try to stop Hell on Earth from the town that was built from the ancestors of Salem. Over the top and disgusting with internal organs puke and a scene with a flurry of maggots, City Of The Living Dead is hard to top. Fulci's zombies are always the most hideous, disgusting and cool looking and the make up f/x are in top form here. Much of Fulci's work has been an inspiration to many filmmakers across the world, but also to numerous bands in the underground music scene as well. Most notably the song "Regurgitated Guts" by Death from their debut classic, "Scream Bloody Gore". When as a youth hearing that album, I have been since devoted to death metal for life. So, I digress that even outside of film, these movies had an impact and Lucio Fulci was one of the finest horror directors to have ever lived.

MisterWhiplash Lucio Fulci was one of the major players in the Italian horror/exploitation scene in the 1970's and 1980's (though he worked in other decades as well, it's then that he made his mark in the world of low-budget gore and schlock), and sometimes he could make some really terrific, even awe-inspiring genre work (The Beyond hits the spot for me), and other times very much not so (Zombie 3 and Sodoma's Ghost are rather pitiful). City of the Living Dead marks some of the high qualities of Fulci's style that's loaded for bear with dreadful imagery (I mean that word as a compliment, up to a point), but there was barely any work on the script or characters.I want to give the movie more of a break for how Fulci and his crew make this town of 'Dunwich' eerie and fogy and genuinely spooky for much of the 2nd half (which seems to be an obvious allusion to the Dunwich Horror, but may also be connected to 'witches' or the supernatural). It's a 'living dead' movie but not connected in any way to the Romero films; this is a zombie movie but not one that involves the eating of flesh. The living do die and come back as the un-dead, and their primary task is to tear into people's skulls (usually when they're not looking) and take out some brains. Why don't they eat them and then just go on their shuffling, make-up-face covered ways? Uh, ask the writers I guess.There are supposedly characters here - I know Christopher George is one of them - and like a lot of horror films from Italy and of the super-cheap variety (several from Fulci of course), New York city is used because it's... New York city, though only briefly. There's a priest who seems to be hung at the start of the movie, and his corpse sort of sets off this or that and then there's gates of hell (this is the "first part" of an unconnected Gates of Hell trilogy by Fulci by the way), which is supposed to be why the dead are returning to life and making things difficult for those in the town.Things with characters just happen, and why bother with rhyme or reason when there's still some space for Fabio Frizzi's score (which at times is the one thing shamelessly ripped from the Goblin's score for Dawn of the Dead, listen for it and it's plain in sight). Aside from one notable scene where a father shows the young man screwing around with his daughter in a car (he isn't but he thinks he is and that's enough) by using a powerful table saw to grisly effect, the violence in the movie is done via the undead. And boy there is a damn lot of it: heads crushed, torsos and abdomens punched through, a head is drilled, limbs get cut or sawn in to, and among all of these the opening with the hung priest is perhaps the most unsettling of all.I wish I could comment on the characters but they're so thin that it's not worth commenting, and I don't think there could have been a solution via a longer cut; this is all about setting up some basic situation, throw in a psychologist or a psychic and a detective who can read people's minds, not to mention a s***load of close-ups of people's eyes looking at each other even when nothing is exactly happening (sometimes there is the psychic angle, others not), and you got yourself a baseline for a whole lot of gore effects, make-up jobs, and people shuffling while usually appearing out of jump cuts. In other words, when it comes to humans talking it's not too satisfying, but when Fulci keeps it to being just a hardcore, brutal horror movie, it's like going into a haunted house and getting the works: cool cinematography, obvious music score, and gruesome kills.