Burial Ground!!!

Burial Ground: The Nights Of Terror ~ 1981, Andrea Bianchi, Italy

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Burial Ground is a film about a lot of things… It’s a film about overcoming adversity, it’s a film about confronting the past, it’s a film about survival… but mostly it’s a movie where a full grown man plays a child who really wants to bang his mom. Yep. Now, granted, this is a very small man, but he’s definitely an adult human being, and not a child by any stretch of the imagination. And again, as I mentioned a moment ago, he really, really wants to have sex with his mom, and the reason why any of that was included in this film remains shrouded forever in mystery and lost to time. This is a movie where rotting corpses rise from their graves to tear human beings apart and devour their flesh, and none of that is even one tenth as creepy as this fucking kid/mom/incest subplot. 

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Plus, he looks like that.

burial-ground-nights-of-terror-1981-10THE PLOT~ When some professor/archeologist/whatever type guy removes an engraved plate from an ancient ruin, he unwittingly triggers a centuries old curse that reanimates the dead and imperils every lusty Italian in the immediate area. What a dumb ass, huh? Meanwhile, our cast of totally forgettable characters all arrive at the beautiful, stately Italian villa which may or may not belong to the aforementioned professor, and which also appears to be on the same property as this ancient tomb for some reason, for a weekend of aggressive sex in as many locations as possible, as often as possible. Solid plan. Sadly, none of these idiots is yet aware that the zombie apocalypse is upon them, so they only get in about fourteen or fifteen sex scenes before the place is just crawling with ghouls and everyone is forced to switch to survival mode. From there it’s your typical Night of the Living Dead style survival zombie film, they barricade, they fight, they die, the end. It’s actually pretty fun!

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Burial Ground is a rip off, and no buts about it. If you read the plot blurb above, the you already know that these guys watched Romero’s contributions a time or two, but this flick is also clearly indebted to Lucio Fulci’s Zombie, at one point even going so far as to directly copy of one of that film’s most memorable eyeball related gore gags. Even so, in watching Burial Ground, you’re more likely to be reminded of Jean Rollin’s Grapes of Death, or even the uber-shabby mummy/zombie mash up Dawn of the Mummy, as Burial Ground is tonally dissimilar to the work of either Romero or Fulci.

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I actually sort of love it it. The make up effects are truly terrible, but the music is really great. It’s much more ambient and freeform than the synth scores you would get from Goblin or Fabio Frizzi, but it suits this film excellently. Burial Ground is also super pleasant visually, whoever managed to acquire this location for the film should be given a freakin’ trophy, because it probably saved the movie in the end. The grounds and house are both beautiful, and do more to push this film in the arty/poetic direction that Rollin has on lock than any other element in the mix by far. That’s not to say that the movie feels anywhere near as poetic as the work of Jean Rollin, and truthfully, it doesn’t want to be, which is okay. The proof is in the pudding, and Burial Ground is very forthcoming about its intentions; it wants to entertain, and deliver. In this film we don’t waste any time with plot, character development, or really anything that takes too much mental energy. Instead, we get zombies; we get them fast, and in as much abundance as is available, and to hold us over while we wait the scant few minutes it takes to fetch our wobbling ghouls, we are compensated with liberal doses of naked Italians gettin’ busy. Folks, Burial Ground isn’t here to judge. Burial Ground knows what you want, and you don’t have to pretend with Burial Ground. Burial Ground isn’t the kind of movie you take home to mother, but it’s the kind of movie you meet in a back alley when you really need a fix.

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VIDEO NASTY BREAKDOWN

Yep! is also made the list of gnarly flicks which raised the English Ire back in the rough and tumble 1980’s! So, how does it compare to all the other films it tries so very hard to imitate? Pretty damn well, actually. Burial Ground has lots of footage of people having their guts fondled and yanked out by grizzled old zombies, but it also has a few memorable gags and scenes that stick out to the viewer; such as a somewhat elaborate sequence involving a dart and a scythe. More than anything else, what probably put Burial Ground on the map for both British Censors and psychotronic film fans is its puzzling inclusion of the aforementioned incest subplot, as well as the hardcore off-putting choice of casting a full grown man to play the role of Michael, who is supposed to be the child in question. We’re pretty much forced to assume that the biggest reason behind these decisions was that it was one more way to jazz the film up with sensational content that was smutty, and which felt markedly inappropriate, both traditionally seen as desirable traits for Italian Genre films. In the end no matter how you feel about the movie, Michael’s horrifyingly wrong relationship with his mother makes Burial Ground difficult to forget, and it also adds a lot of weight to later scenes in the film, wherein we learn the fate of young(?) Michael. Burial Ground’s blood and gore isn’t quite as over the top as some other films in the Video Nasty lexicon, but it hits home, because Burial Ground doesn’t work hard- it works smart. And by smart, I mean they cast an adult man as a child who wants to bang his mom, and then we see his corpse being eaten, and it’s super bloody and I love it. You probably will, too.burial10

It also has one of the most bleak and nihilistic endings of any zombie film ever, which is quite a statement indeed. Suffice to say, nobody survives this one, and we end with a freeze frame, followed by this text (spelling errors included):

 

 

“The Earth Shall Tremble…
Graves Shall Open…
They Shall Come Among the Living as Messengers of Death and there shall be the Nights of Terror…

Profecy of the Black Spider.”

DAMN! That’s the most metal shit I’ve ever heard in my LIFE. So, yeah, if you want to know more about The Black Spider and whatever his deal was, then be my guest and google that shit. Meanwhile, this is a pretty amazing way to end a zombie movie, and I don’t even know if that caption is bogus or not. I really don’t care. At the end of the day, Burial Ground pretty much delivers in the same way that junk food does, it’s not good for you, but if that’s what you wanted, you wouldn’t have bought those Cheetos in the first place.

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Crimes Against Humanity: Zack Snyder

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Ugh. ZACK SNYDER. What a piece of trash. Snyder is that guy you know who just doesn’t get it, but couldn’t be more enthusiastic. He’s just smart enough to figure out what smart people are into, but not smart enough to have a legitimate interest himself. If you asked him what he thought about The Mona Lisa, he’d probably say it was “tight.” If asked why, he might assert that her expression was “hella funny.” He might then invite you to Carl’s Jr.

Zack Snider is the guy who shows up to every party on time, but no one is happy about it. Zack Snyder produces mindless, bottom of the barrel, opiate of the masses level popcorn entertainment for people who would rather die than suffer subtitles, and what makes him especially bad is that he seems to prefer doing this to intellectual properties that could actually be really great in the right hands. Zack Snyder is a machine that ruins other people’s good ideas. He assassinates potential. He’s really, really good at that.

  • Dawn of the Dead Now, on the surface, this movie wasn’t horrible. At the time, I actually liked it… It had a good script (James Gunn). The thing is, however, that this movie is the reason zombies suck so hard now, and now that we know more about Mr. Snyder this movie seems pretty pernicious in retrospect. This was Snyder saying “You know, I like Dawn of the Dead… But obviously I can make it better.” This was the gateway drug the X-Box/Monster Truck Rally crowd needed to get them into zombies. Horror, dread, psychology, existential terror, all this wasn’t going to work for today’s youth. They needed zombies that could run fast and make monster noises. Some might try to pin the blame on Danny Boyle’s 28 Days Later, but that argument won’t stand. That movie may have sped zombies up, but this one dumbed them down, and this is the movie that defined what path these movies were going to take from that point forward.
  • Watchmen In an interesting way, Watchmen is actually an incredible accomplishment, because it is at the same time an incredibly faithful adaptation of the comic book and also the exact opposite of the authors intention. How can this be? The devil is in the details, it’s not what Snyder says, but how he says it that causes this phenomena. He’s like a parrot; he repeats faithfully, but always in a strange, uncomfortable monotone and with no actual grasp of what his words mean. This is a great illustration, because that’s Snyder to a T, he’s a huge fan of a lot of great things, but like a child he appreciates and is aware of only the most superficial layer of any composition. Any subtext or statement is over his head by miles, and he couldn’t care less because he’s too busy imaging it in slow motion with techno music and explosions. Just like Dawn of the Dead and The Man of Steel, Watchmen has Snyder taking an idea with some complexity to it and reducing it to it’s most simplified, shallow form, and then dumping sugary gloss all over it to jazz it up. The comic book version of Watchmen was ground breaking, and is beloved for taking old ideas and subjecting them to unheard of levels of stark realism and complexity. Mangling that into a generic, cookie cutter, super hero film complete with every age old stereotype and no intentional irony is a pretty Herculean example of missing the boat. Where great artists look for new ways to say more, Snyder is a master of finding old ways to say less, or nothing at all.
  • “Saving” Watchmen from the Terry Gilliams of the world- Though past his prime as an artist, Terry Gilliam remains an incredibly respected and admired director by film buffs the world over. This is a respect he has earned, and which Zack Snyder has not. There was a time when the studios courted Gilliam to produce a Watchmen film, but these negotiations obviously never went anywhere. In a recent interview, Zack Snyder, creator of jaw-droppingly shallow media, stated that part of why he made Watchmen was to, and I f’ing quote, “save it from the Terry Gilliams of this world.” The impact a statement that over-whelmingly out of line is impossible to measure. Snyder’s lapse in judgment regarding his own self worth is at this moment the most staggeringly incomprehensible thing in the universe. I struggle to even find an appropriate analogy. Saying that this is like Einstein’s scientific contributions being criticized by a used diaper with a sixth grade science text book is giving Snyder too much credit.
  • Sucker Punch- Sucker Punch perfectly captures the experience of watching your little brother play Playstation 2 for two hours. Solitaire, the card game, has more character development. It’s one of the worst movies I’ve ever seen, and I devote most of my spare time to actively seeking out the worst movies known to man with frenzied desperation. After Sucker Punch, though, you’re just chasing the dragon. Nothing will ever be this bad again.You’d have a better time watching your own snuff film. Sucker Punch is a piece of garbage strung together by a man who lacks the attention span to achieve anything. Does Zack Snyder have children?! What happens when they ask him to make them a bowl of cereal? He get’s half way to the pantry, is distracted by a moth and runs out into the street pretending to be an airplane? How did the creation of this blisteringly vapid piece of dog shit lead to this man being in charge of the DC cinematic universe?! Only the most deranged and depraved collection of soulless money vampires could have seen this and not demanded a public suicide of Snyder in an attempt to reclaim honor. I view the creation of this movie the same way that The Terminator franchise views the creation of artificial intelligence. Time travel must be researched so that this wrong can be completely erased from Earth’ history. What if there is intelligent life elsewhere in the universe and they find Sucker Punch?  Did you ever think of that? That’s like your mom finding your porn collection, but on a scale where the consequences are human extinction. They’d show up with the death ships, we’d make our case, they’d say “We saw Sucker Punch.” And mankind would grow silent, knowing it had no leg to stand on. “Make it fast,” we would request, though we knew we didn’t deserve it.
  • Sucker Punch Again – If I was entered into the Witness Protection Program, and the false identity the FBI created for me had a Netflix account associated with it that had given Sucker Punch a passing grade, the shame would be so burdensome that I would just contact the Mafia and inform them of my location immediately.
  • The Man Of Steel – Clark Kent is the reason Superman is a great character. That’s the depth that people respond to, and good writers have always known that for Superman, the best stories are not the ones reliant upon Superman facing physical challenges. Those struggles are best left for other characters, for Superman, his whole shtick is that he readily and easily dominates the physical world on an almost God-like level. The path to writing a great Superman story is by exploring what it means to someone to have that level of ability and responsibility, and to be a complete outsider, when in reality all you want is to be a good person with a normal life. The speech David Caradine’s character Bill gives in Kill Bill Vol. 2 is right on the money, Superman is great because the false alter ego he adopts is not his super hero persona, but rather the shroud of normalcy he tries to cloak himself in when he steps into the role of the clumsy, bumbling Clark Kent. The Clark Kent/Superman dynamic is 100% the key ingredient in crafting a great Superman story. What’s that, Zack Snyder? You’re not even going to do the Clark Kent thing? You’re going to do it super half-assed, and have Lois Lane know from day one, because you don’t fully appreciate or understand why Superman works? Well, what are you doing instead? Explosions and buildings falling over, huh? People getting killed? Great. I thought that’s what you would say. And on that note….
  • Batman VS Superman- I’m just glad I’m a Marvel comics guy. I have to take a break and write about this another time. This idea is so bad that I need a full eight hours of sleep and two weeks preparation to adequately hate on it. I’ll come back and do this later.Okay, I’m back.

    DC and Warner Brothers want Marvel movie success, but they don’t have Marvel patience or foresight. It’s like someone noticing their neighbor having a really nice Thanksgiving Dinner and wanting to experience that for themselves, but then refusing to take the time to cook any of the food, or even remove it from it’s packaging. When the time comes they pile a huge mound of rotting garbage in front of their guests, only to become upset when nobody enjoys the evening. That’s DC and Warner Brothers right now. If you want a massive film universe, establish it. If you want a massive crossover film, establish properties that you can then crossover. Yes, it means you can’t enjoy the box office of a major cross over film as soon as next summer, but you can milk each specific character for their own film franchises,  making more money in the long term anyhow, and it’s really important to take the time to do something like this the right way, or else it’s just going to fall flat on it’s face. Instead, this new movie is going to be absolutely crammed full of poorly imagined, underdeveloped new characters like a damn clown car, which is just such a bad plan. Part of the issue is that they have no confidence in their product, because most of these guys have very little potential for solid, stand alone films in the first place. We all saw how The Green Lantern went down and most of these guys all have much worse problems, DC is just campier. For instance;

    1. The Flash…. He runs light speed, and his main villains are Captain Cold, Professor Zoom, and a talking, psychic super gorilla from space or the future or something… Sounds like The Flash is going to be a challenge.
    2. How about Wonder Woman? She’s made out of clay and lightning, and her only villain is a Cheetah girl… Called Cheetah. The DC Universe also has a character who is a Cyborg, with the super creative name of: Cyborg. Good job, DC.
    3. Aqua Man? (crickets chirping….) How are you going to film the underwater scenes?! Just make his voice sound really bubbly?

    We could write for days about why the strategy that DC and Warner Bros is using is stupid and destined for failure, but that’s a conversation for another time. What we’re talking about right now is Zack Snyder. The hurdles facing DC wouldn’t be the looming, insurmountable road blocks that they are if we had someone at the helm we could trust to do a good job and find new ways to enjoy these characters without mangling them too badly. But we don’t.

    And I don’t want to hear any “You can’t judge a movie that isn’t out yet” crap, because of course we can. If a man comes at you with a knife and clearly states his intention to stab you, do you refuse to react on the grounds that you cannot properly judge a wound until you’ve experienced it? This is that stab wound. Dodge it, run, anything. Or don’t, this movie is getting made no matter what we do. The era of good DC movies died with the conclusion of Christopher Nolan’s last Batman film, so make peace with that and brace yourself for all the nerd drama that’s going to be meme-ing up your newsfeed left, right and damn center for the foreseeable future.

    This has been my presentation. I hope now you all understand that Zack Snyder sucks in a way that is vibrant, striking, and utterly devastating to the human spirit. He’s like some kind of coiling, farting viper lurking in the shadows, waiting to strike and kill something beautiful, all the while clouding the air with shameful gasses. Also, I imagine this snake to have blunt, bucked teeth, one of those propeller hats stupid people wear in cartoons, because Snyder is apparently also stupid. Everyone have a nice day.