If a viewer were to watch only the “Living Dead” films among George Romero’s catalog, they’d see the shift from talented experimenter in “Day of the Dead” (1985) to seasoned master in “Land of the Dead” (2005). The fourth entry is the most tightly focused and best character film to this point.
Humanity’s new normal
Coming out a few years after James Cameron’s “Dark Angel,” “Land of the Dead” similarly shows a future where people have adjusted to the new normal after an apocalyptic event. It’s a bad place to live, yet the common man isn’t any less happy than in nonfictional reality. “Land” doesn’t break new ground or get intriguingly satirical, but it’s a fine example of brisk dystopian action and world-building.
Two groups of humans make up the populace of an unnamed northern city (filmed in Toronto). The skyscraper Fiddler’s Green houses the hoity toity, and the surrounding slums are home to the hoi polloi – temporarily satiated by vices like gambling, prostitution and zombie bloodsports. Among these masses are our heroes, who venture beyond the walls to get supplies from dead (as in “filled with zombies”) towns in the region. It’s dangerous blue-collar work, but it can be profitable.
“Land of the Dead” (2005)
Director: George A. Romero
Writer: George A. Romero
Stars: Simon Baker, John Leguizamo, Dennis Hopper
I love “Land’s” character roster and the way good people band together and trust each other. They understand the true enemies are the zombies (naturally) and the Fiddler’s Green ruler, Kaufman (Dennis Hopper), who kills underlings rather than merely firing them.
Alpha male Denbo (Simon Baker) and mentally simple one-eyed sharpshooter Charlie (Robert Joy) have a nice friendship, always watching each other’s backs. Joining them is Asia Argento’s Slack, one of the city rebels who got on Kaufman’s bad side.
Fellow supply-runner Cholo (John Leguizamo) is also an alpha male, and he and Denbo do have some antagonism. But I like the respect between them, and their understanding that they’re on the same side in regard to what truly matters.
Heroes with heart
Joining the likable Joy in the competition for best performance is Eugene Clark as an intelligent zombie named Big Daddy in the credits. With grunts and glints in his eye, this zombie displays anger at his lot in life and gradually learns. In a striking sequence, he drops into the waterway that circles and protects the city; he has realized he can walk across the river bottom (Zombies can’t drown).
The zombie makeups made a huge leap in “Day,” and they lake another step forward in “Land.” Greg Nicotero – who cut his teeth on “Day” and would later lead the way on “The Walking Dead” – takes the reins from Tom Savini (who appears in front of the camera as “Machete Zombie,” similar to his “Dawn of the Dead” role).
Hopper and Leguizamo play themselves, and your mileage may vary. I like how Kaufman knows who he is and doesn’t beat around the bush. He believes he’s earned his local king status because his money built the city and Fiddler’s Green. He also knows rebellion will likely foment, and he’s made backup plans.
I didn’t mind Leguizamo’s laid-back performance, but I can see how some viewers might’ve wanted more edge. Cholo looks out for number one, but also understands loyalty and what’s right; this character gets a fun twist at the end.
The surprising decency of most of the hero characters makes “Land” refreshingly unpredictable in its details, even though the multi-pronged plot is quite easy to follow. We have the bad guys in Fiddler’s Green, the good guys who could lead a revolution if the logistics fall into place, and zombie hordes.
Human (and zombie) advancements
Zombie leader Big Daddy marks a nice bit of continuity. We saw the friendly zombie in “Day of the Dead” learn things via repetition experiments by Dr. Logan at the underground lab. That provides the verisimilitude we need to buy Big Daddy’s advancements.
Two decades seems right for a walled and striated city to have formed, with the people at a point where zombies – and the fact that they will become one upon death, unless the brain is destroyed — are an accepted part of existence. (The continuity between the previous installments isn’t impossible, but it’s shakier. About a decade passes between each film, yet it always seems to be the early days of the apocalypse.)
Meanwhile, those outside the halls of power have advanced in armor and skills. The simple-minded Charlie has “made himself useful” by becoming an expert marksman. In a darkly gleeful parallel, Kaufman’s inaccurate marksmanship proves costly once he’s flushed out of his penthouse.
The Denbo/Cholo team has constructed an impressive tank called Dead Reckoning that protects them from zombies on supply runs. Even side characters like tank driver Pretty Boy (Joanne Boland) have a certain spice, despite zero backstory or characterization.
I would happily follow Denbo, Charlie and Slack into another adventure, but a peek at the next film’s roster shows that’s not going to happen. Still, I enjoyed my time in “Land of the Dead.”