Romero’s Worst: ‘Survival of the Dead’ Falls Flat

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#10 in my ranking of George A. Romero’s filmography.

To be frank, this isn’t close to the level of “Diary of the Dead.” In my opinion, “Survival of the Dead” is George Romero’s finest zombie film since “Dawn of the Dead.” Unfortunately, that’s quite disappointing. The movie focuses on a minor character from the earlier film and turns him into a central figure amidst a family conflict that doesn’t really impact him significantly. As such, “Survival of the Dead” falls short, but it’s far less problematic than Romero’s recent work.

In the aftermath of the zombie outbreak, Sarge (Alan van Sprang), along with his team of military personnel, finds themselves navigating through a post-apocalyptic world. They had earlier raided a college for supplies as seen in ‘Diary of the Dead.’ Their journey leads them to encounter some backwoods men who have gruesomely displayed zombie heads on stakes. This macabre scene bears resemblance to the intense emotional outbursts characteristic of ‘Day of the Dead.’ However, this tense situation does not persist; Sarge’s group eliminates the backwoodsmen and rescues Boy (Devon Bostick). Contrasting this scenario is the introduction on Plum Island, off the Delaware coast, where we witness Patrick O’Flynn (Kenneth Welsh) being exiled by Seamus Muldoon (Richard Fitzpatrick), due to a disagreement about what should be done with the newly turned undead: either killing them or preserving them in search of a cure.

In essence, Romero’s portrayal of the undead in his work since “Day of the Dead” presents a significant inconsistency. There seems to be a recurring attempt to elicit sympathy for zombies, only to follow this with a stark contrast in scenes where the undead are brutally killed. For instance, a scene like Sarge casually shooting a flare into a zombie, causing its head to ignite, then lighting his cigarette from the fire and kicking it off a boat. One might question if we’re meant to empathize with that particular zombie or simply enjoy the violence. It appears Romero is trying to combine emotional depth with brutality, which can be quite jarring.

In a port, the army’s leaders follow O’Flynn, broadcasting a video online (which continues to function over a month into a zombie apocalypse, hinting at the internet’s remarkable resilience or perhaps the mildness of the apocalypse), luring people towards Plum Island. This turns out to be a trap, resulting in a gunfight and the theft of a barge. With O’Flynn as their guide, the army group navigates to Plum Island. The main action unfolds when they arrive on the island. This film is essentially a western with Irish characters located off Delaware’s eastern coast, focusing on two feuding families. The journey to the island serves as a prelude to the trilogy Romero intended to create, featuring Sarge and his surviving comrades.

The feud between the O’Flynns and the Muldoons is skillfully constructed, with an emphasis on Muldoon’s quest to find a solution for zombies feeding on something other than humans, in hopes of saving them. Romero’s films often take place outdoors, capturing the surroundings beautifully. There’s a striking scene of a zombie girl riding a horse that looks great, but becomes confusing when Muldoon attempts to make her eat the horse. If she’s been riding it for weeks, why would she suddenly start eating it? I’m not sure, it just doesn’t seem logical.

Essentially, this series of events in the film feels cohesive on their own but seems disjointed when connected. The entertainment factor is sufficient yet the narrative never fully gels into a complete movie. Characters like Sarge and his group seem misplaced within the storyline. The concept of rehabilitating zombies is underdeveloped. One of O’Flynn’s twin daughters, Kathleen Munroe, is introduced later in the film despite being present in the opening scenes, which feels odd. Moreover, the inclusion of cash as a central plot point seems out of place in a post-apocalyptic world where currency would have no value. This becomes problematic when the importance of money is emphasized yet forgotten for extended periods. It’s a curious decision indeed.

This film doesn’t excel, but it’s noticeably improved compared to Diary. It appears visually appealing and boasts some amusing individual scenes. Unfortunately, Romero seems devoid of the skill to infuse his movies with substance, making his work here cringe-worthy. However, as a neo-Western featuring Irish characters on an island near Delaware’s eastern coast, it’s not the worst watch.

Rating: 2/4

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2025-02-26 00:30