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Romero Fans Should Watch the Clever ‘Mimesis: Night of the Living Dead’

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MIMESIS (NOUN): LIFE IMITATING ART.

It’s common knowledge that George Romero’s Night of the Living Dead is a public domain film, meaning that it’s basically owned by, well, the public. That’s why the seminal zombie classic is so often watched by characters in horror movies, and it’s also why it’s been re-released onto home video so many times by so many different companies.

Additionally, the film’s public domain status is to blame for all the unlicensed remakes, ripoffs, and re-edits that we’ve seen over the years. Night of the Living Dead has been colorized, animated, and even unofficially remade as a terrible 3D movie starring Sid Haig… and it’s all been 100% legal.

While most of that stuff isn’t worth your time, there is one film that cleverly used Night of the Living Dead‘s public domain status as a means to pay loving tribute to George Romero’s enduring legacy, while also commenting on our shared obsession with horror movies.

It’s called Mimesis: Night of the Living Dead, and it was released back in 2013.

The indie film has a crazy cool premise, almost literally placing a group of characters inside of Romero’s 1968 classic. Mimesis begins at an old farmhouse, where a farmer (played by Children of the Corn star Courtney Gains) discovers his wife being feasted on by zombies. We then find ourselves at a horror convention, where a horror fan and his non-horror fan buddy are taking in a discussion on real world violence vs. fictional violence, being hosted by a horror filmmaker (played by Sid Haig).

Afterwards, the friends sit down to grab a bite to eat in the cafeteria, where they’re invited to a party by a female horror fan. They soon end up at the party, and along with one of the girls they meet there, wake up in the morning to find themselves in different clothes; clothes that are immediately familiar-looking to Night of the Living Dead fans.

They take shelter in the farmhouse seen at the start of the film, and engage in a battle to the death with the “zombies” quickly gathering outside.

Oh and did I mention that the horror fan wears black-rimmed glasses, his friend is a level-headed African American, the girl from the party is a blonde, and there are other survivors hiding out in the basement of the farmhouse, including a miserable father and his young daughter?

Sound familiar?

Director Douglas Schulze’s Mimesis is essentially a very clever remake of Night of the Living Dead, and it’s the cleverness of the concept, and the overall smartness of the script, that make it a treat for Romero fans. The characters essentially become the characters from NotLD, and it’s really fun to watch them unknowingly go through those iconic motions. They figure out what to do and what not to do based on what works and doesn’t work for the characters in NotLD, making for the most inspired cash-in on Romero’s success that I’ve seen.

Now the thing is, if you strip all that cleverness away, Mimesis is admittedly an amateurish and unremarkable effort, which drags on at times and suffers from some really annoying editing and sound choices. For no other apparent reason than to try and make the film “cooler,” simple character movements are at several points throughout sped up and then slowed down, and it’s so bizarre that it seems like a video glitch rather than a creative choice.

Nearly all of the kill scenes are also sped up in that flash-cut, Saw sort of way, which is a real shame given the old school feel this movie was going for; even more of a shame considering a lot of the kills were pulled off with old school practical effects.

But the fact remains that the script is clever enough in the end that I was personally able to look past the shortcomings of the film. Rather than simply remaking Night of the Living Dead, Schulze and friends did something unique and original (well, as original as possible) with it, creating with Mimesis a really fun new take on a horror classic that appeals directly to its most hardcore fans.

It’s for fans and by fans, and it’s well worth a watch.

Writer in the horror community since 2008. Editor in Chief of Bloody Disgusting. Owns Eli Roth's prop corpse from Piranha 3D. Has four awesome cats. Still plays with toys.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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