It seems that George Romero still has something he wants to say. All of his 'Dead' films have been thinly veiled allegories for the social ills of a post-modern America; "Night of the Living Dead" (racism), "Dawn of the Dead" (consumerism), "Day of the Dead" (military, armageddon fears), and most recently, "Land of the Dead" (Unions of the Dead?). "Diary" is no exception. And you're gonna get that message delivered to you over and over in the span of its 1 hour and 40 minutes of running time.
There is a template that each of these films follows faithfully. A group of people are carrying on with their normal lives, when suddenly, the dead rise and begin feasting on the living. In this instance we are introduced to a group of college co-eds who are in the process of making a bad, low-budget horror film. A newsflash informs them, as always, that the dead have come back to life and are on the attack. From that point the running begins. The difference this time is that all of the action is being meticulously filmed and chronicled by Jason Creed (Joshua Close), the director of the above mentioned bad, low-budget horror film. As the world comes apart around them Jason trains his lens on his fellow filmmakers. (This first-person technique was utilized to a better effect in "Cloverfiled", and not so effectively in Brian DePalma's "Redacted".) Again, Romero populates his film with no-name actors, although one resembles a young Nic Cage and a blonde slightly resembles Kate Hudson. It really doesn't matter, you're not supposed to get to know them because they're all fodder for the zombie feast.
Once all heck breaks loose, our young film crew is on the run in a dilapidated Winnebago along with their alcoholic professor (who comes with a spiffy Ivy League British accent). They venture back to the dorms only to find that all have fled in terror, conveniently trashing the place in the process. (why is it that in these films, the vacated areas always look like they've endure a nuclear blast? Can't people leave a room in a panic with out breaking things?) From there the settings change from a hospital, to a black market warehouse, to an affluent country estate. All just new locales for blood to spill, brains to decimate and eyeballs to explode.
As in all the 'Dead' films, dilemmas arise. How can we kill a person, even when they're a brain-crazed zombie? Or, how do you kill someone who was formally your friend, but now considers you their source of daily nutrition? The learning curve is short in these films, and soon the carnage is coming fast and furious. Our protagonists become experts in the art of killing, training their guns, rifles and bow and arrows on everything without a pulse.
And now for the "message". The film hammers you over the head with how new media technology (internet, digital media, blogging, etc.) have now become the "new truth." With all the new voices gaining forums in a digital age, truth is becoming watered down. The film CONSTANTLY tells us it is the goal of these college filmmakers to expose the truth, all the while participating in the system that they are supposedly trying to uncover. The characters tell you. The voice-over narration tells you. Over and over again. Isn't it ironic that this review happens to be in a blog. Would Romero disapprove?
Now, I'm a zombie film fan. I loved Zack Snyder's revamping of "Dawn" and "Shaun of the Dead" was a spot-on spoof of the genre, all the while, delivering genuine thrills. But for all it's goriness and zombie action, "Diary of the Dead" lacks bite. The problem is the performers are too aware that they are making a statement that they are performing for the ever-present camera. And therefore the performances are a bit stilted. And once the young people are on the run, we all know where it goes from there. The only bright spot in the story comes when the gang stumbles upon a deaf Amish farmer who dispenses of the zombies in a very clever and old world way. Other than that, this film covers familiar ground.
The film is under Dimension Films Extreme banner, which is a home for truly shocking and disturbing horror flicks (Frontiers, Inside - both of which are better than "Diary"). It is a HARD R rating with lots of practical gore effects and few nifty digital ones. Plus, the language in this film could make a trucker or sailor blush. In short, Romero is saying that the youth of today, ion addition to having a vast array of media influences, also have potty mouths. Hmm, maybe he does have something to say afterall.
(2 stars out of 5)
Rating System:
***** = Oscar Contender
**** = Oscar Attendee
*** = Oscar Seat Filler
** = Oscars On TV at Home
* = Razzie Award (the anti-Oscar for really bad films)
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