George A. Romero’s “Day of the Dead” (1985), the third installment in his seminal zombie trilogy, is a grim, claustrophobic exploration of human conflict and societal collapse amid an apocalyptic zombie outbreak. While it lacks the raw immediacy of “Night of the Living Dead” (1968) or the satirical bite of “Dawn of the Dead” (1978), “Day of the Dead” distinguishes itself with its unflinching pessimism, complex character dynamics, and groundbreaking special effects. However, its uneven pacing, occasionally heavy-handed dialogue, and certain character choices prevent it from surpassing its predecessors.
The film’s greatest asset is its intense focus on human dysfunction. Set in an underground military bunker, “Day of the Dead” traps a small group of survivors—scientists, soldiers, and civilians—in a pressure cooker of ideological clashes. The scientists, led by the obsessive Dr. Logan (Richard Liberty), prioritize research into the zombie condition, while the increasingly unhinged soldiers, under the command of the volatile Captain Rhodes (Joseph Pilato), demand control and survival at all costs. This setup allows Romero to delve into themes of authoritarianism, scientific ethics, and the erosion of civility under stress. The character of Bub, a domesticated zombie, is a standout, offering a haunting glimpse into the potential for zombie sentience and adding emotional depth to the horror.
Tom Savini’s makeup and special effects are another high point. The gore is visceral and inventive, with iconic sequences like the gut-spilling zombie attacks and Dr. Logan’s gruesome experiments. These effects not only amplify the horror but also serve as a visual metaphor for the decay of human cooperation. The bunker setting, while less dynamic than “Dawn’s “mall, enhances the film’s claustrophobic dread, with its dim lighting and labyrinthine corridors creating a palpable sense of entrapment.
Now despite its thematic ambition, “Day of the Dead” struggles with pacing and narrative coherence. The first half of the film is bogged down by repetitive arguments among the characters, which, while thematically relevant, feel overly protracted. The dialogue, at times, veers into didactic territory, with characters explicitly stating the film’s themes rather than letting the story convey them organically. This is particularly evident in the scientists’ monologues about the nature of the undead, which can feel like philosophical detours that stall the momentum.
The characters, though” well-acted”, are occasionally one-dimensional. Captain Rhodes, for instance, is so aggressively tyrannical that he borders on caricature, undermining the nuance Romero achieves elsewhere. The civilian character John (Terry Alexander), while sympathetic, is saddled with a faux Jamaican accent that comes off as exaggerated and inauthentic, detracting from his otherwise grounded presence.
Also, there was Jarlath Conroy as alcoholic radio operator Bill McDermott with flask in tow accompanied by his folksy Irish accent who often spews "Jesus, Mary and Joeseph"
These questionable choices feel like an unnecessary flourish that risks stereotyping, weakening the characters' credibility.
Most frustrating, however, is Miguel (Anthony Dileo Jr.), who emerges as the film’s most annoying character. His portrayal as an emotionally fragile soldier, overly dependent on Sarah and prone to reckless decisions, makes him come off as a simp—lacking the strength or agency to contribute meaningfully to the group.
His weakness grates against the film’s otherwise tense dynamics, rendering him a liability that tests the audience’s patience. Additionally, the soundtrack, composed by John Harrison, (Creepshow) is notably tame compared to the pulsing, iconic Goblin score of “Dawn of the Dead” or the eerie minimalism of “Night of the Living Dead”. The soundtrack often fails to enhance the tension, feeling generic and forgettable in contrast to the bold auditory identities of the earlier films.
“Day of the Dead” was initially criticized for being too bleak compared to the more accessible “Dawn of the Dead”, and its box office performance reflected this. However, time has been kind to the film, with its darker tone and social commentary resonating more deeply in the years since its release. It foreshadows the grittier, more psychological zombie narratives of the 21st century, such as “The Walking Dead” and gives more of a breakdown of why Zombies function, i.e. the desire to consume flesh. Its influence on the genre is undeniable, as the Resident Evil games and the movie adaptation borrowed various elements from this sequel including its exploration of zombie behavior and the groaning sound effects.
“Day of the Dead” is a flawed but compelling chapter in Romero’s zombie saga. Its unrelenting grimness and focus on human conflict make it a bold departure from its predecessors, even if it doesn’t always match their narrative polish or stylistic flair. Despite this sequel gaining traction during the 3rd and final act, the exaggerated faux Jamaican accent of John, the lackluster soundtrack, and the irritatingly weak portrayal of Miguel further hinder the film’s impact, making it feel less cohesive than its predecessors. Still, for fans of the great George A. Romero, horror and social allegory, it remains a must-watch, elevated by its daring ideas and grotesque spectacle.
