Beyond Fest’s Black Friday: George A. Romero’s “Dawn of the Dead” with Ken Foree In Person

Join the American Cinematheque and the Cinemtatic Void for the Ultimate Black Friday mall trip: George A. Romero’s Dawn of the Dead with Ken Foree in Person.

In celebration of mass consumption and the grotesque gluttony, George A. Romero’s “Dawn of trhe Dead” gets a rare theatrical screening this Black Friday at the Aero Theater in Santa Monica. Joining for both a pre-screening introduction and post screening Q&A will be lead actor Ken Foree to share on-set stories and the importance of Romero’s enduring Magnum Opus.

The sequel to Romero’s landmark “Night of the Living Dead,” “Dawn of the Dead” obliterated genre normas and shattered sensese jupon its release in 1978. A razor sharp social commentary on material society, Romero’s vision is fully realized in the collapsed civilization that he meticulously wrote, directed, and edited. With electric performances from Ken Foree, Gaylen Ross, David Emge and Scott Reiniger, and revolutionary special effects from the master Tom Savini, “Dawn of the Dead” remains an untouched masterpiece at the very peak of genre cinema.

Attendance to all Beyond Fest screenings requires physical proof of vaccinations and guests must follow mandatory mask mandates. Go to americancinematheque.com for details.

“You’re Next” is Still One of the Top Ten Slashers of All Time

Simplicity has always been the best friend of the slasher movie. Nine times out of ten the best slasher movies aren’t convoluted or complex. Most times they’re just simple premises with simple motivations but a lot of subtext added throughout the narrative. “Halloween,” “Scream,” “Friday the 13th,” all benefited from being fairly simplicity and so does “You’re Next.” Adam Wingard’s horror thriller came like a wrecking ball back in 2011, sideswiping me and just blowing me out of my seat. Although now he’s headed for the bigger blockbusters, Wingard’s horror outings tend to channel John Carpenter with how they mesh sub-genres.

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Slumber Party Massacre (2021)

Amy Holden Jones’ original 1982 “The Slumber Party Massacre” is considered one of the great trashy slasher classics of the 1980’s. It’s a movie that’s so irredeemably stupid but is still celebrated by many fans. I personally think the sequels are better, if infinitely stupider, but that’s neither here nor there. 2021’s “Slumber Party Massacre” is both a meta-satire and re-imagining that follows up on the original events of the premise of the original movie and turns it on its head.

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V/H/S/94 (2021)

“V/H/S/94” comes at just the right time in just the right climate. Right now the found footage sub-genre is experiencing a small resurgence, while Analog Horror/ARG’s is all the rage on Youtube right now (e.g. “Local 58”). Horror fans love being immersed in to alternate realities and “V/H/S/94” offers up a bevy of original, creepy, bizarre, and damn scary tales that re-introduces us to a horrifying world where the darkest demons can only be found on VHS. It keeps true to its roots though, bringing back Simon Barrett and Timo Tjahjanto for another great go around.

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Nobody (2021)

It’s not too often that a movie title can take on so many meanings as a narrative unfolds, but director Ilya Naishuller manages to pull off what might be one of the more entertaining play on words of the year. “Nobody” is a pretty excellent film that, while it doesn’t re-invent the wheel, does a lot with the numerous resources on hand to create a thrilling action film that’s darkly comedic, satiric and presents an interesting conversation about the antiquated concept of the nuclear family.

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Killing Spree (1987)

Tom may just lose his mind and end up becoming a serial killer if another of his wives cheats on him. How do we know that? Well, Tim Ritter in his brilliant writing explains that to us in an ever so blunt exposition that Tom may just–lose his mind and end up becoming a serial killer if another of his wives cheats on him. Why the repetition? It’s probably because director Tim Ritter’s attempt at a facsimile of a film is absolutely unwatchable.

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