Land of the Dead (2005)
Directed by George A. Romero
The living dead have taken over the world, and the remaining humans live in a walled city to protect themselves as they cope with the situation.
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What critics compared Land of the Dead to
At times it recalls two different “Mad Max” films (“The Road Warrior” and “Fury Road”), George A. Romero’s zombie sequel “Land of the Dead,” and, refreshingly, the “Fast & Furious” movies.
Sorry not sorry for the hyperbole, but Peninsula is Land Of The Dead , Mad Max: Fury Road , World War Z , all mixed in a blender with Fast & Furious franchise DNA (the later sequels).
But the high-rise-as-allegory bit has been done in David Cronenberg’s Shivers and George A. Romero’s Land of the Dead.
As with Romero’s Land of the Dead (2005), in which an even more implacable lumpen element—reproachful zombies—rises up against a degenerate one-percent, it’s impossible to miss Snowpiercer’s point.
It even presents a plausible continuation to the idea of zombie empathy that Romeo himself hinted at in Land of the Dead (2005).
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DeMonaco’s new film calls to mind George Romero at his worst, when the famed horror auteur lets his rhetorical id run wild in films such as Land of the Dead and the Really Important Political Points overwhelmed the story.
(I’d be surprised if George Romero’s Land of the Dead wasn’t an influence on Blomkamp.)
There’s a “zombies are people, too!” plot thread in here that’s taken right from the frames of Return of the Living Dead, Land of the Dead, Fido, Shaun of the Dead, Warm Bodies and a handful of other zombie flicks that are each better than Steers’.