How does diary of the dead end

On their way, they were stopped by the national guard and their supplies of food. The raid was lead by Sergeant "Nicotine" Crockett who soon becomes the main character in Survival of the Dead. They arrive to find that all the staff and family at the mansion are zombies and the deranged Ridley is soon to become one. Also becoming one at this point is Elliot, the technology expert who thought the house was safe and let his guard down. Tracy storms off, after Jason chose to film a zombie attack on her rather than help.

After Jason is attacked, the remaining survivors then seal themselves in the family's panic room. After an undisclosed amount of time, we see the last video Jason downloaded before he is bitten and then shot. It is a video of two men tying zombies up and using them as targets.

Jason wanted to make the video so he could help people and maybe even save a few lives. Debra's final words after we see the zombie target shooting video are Zombiepedia Explore. Top Content. As everyone who had the ability to write mentioned a month ago when Cloverfield was new, this style seems unavoidably linked to the rise of YouTube , that generation-defining paradise for video diarists, politicos, pop culture collectors, musicians, and so on to infinity.

The idea seems to be that within a very short time, a very large portion of society has become helplessly addicted streaming video and the idea that things only exist if they can be captured, digitized and uploaded for the whole world to see. That's certainly an intriguing idea, although it feels like the people making probably aren't the same people spending all their time on YouTube.

It's also not an idea that has been all that well served by the films that it purports to explain: Cloverfield ignores the theme almost completely, while Diary of the Dead humps it to the point of exhaustion. Only the criminally underrated Redacted gets things just right, and even that film hedges its bets by couching the home movies in among several sources of artificial found footage.

Because they've been released so close together, and both are horror films, it's the easiest thing in the world to lump Cloverfield and Diary together in this discussion. But the most characteristic element of Romero's film is actually the one that most clearly sets it apart from Cloverfield , and makes it more like Redacted : where the monster movie was explicitly presented as found footage, the exact unedited videotape found in a camera in the former Central Park, we are told literally within seconds of the beginning of Diary that we are watching a finished film, assembled by one of the survivors in some vain attempt to make sense of all the chaos going on around her.

That film isn't actually Diary of the Dead words that first appear in the closing credits , but The Death of Death , directed by University of Pittsburgh film senior Jason Creed Josh Close and edited together by his girlfriend Debra Michelle Morgan , mostly using footage shot by Jason but occasionally incorporating some of the video clips he downloaded showing the terrible international epidemic of - all together now - the dead rising from the grave to eat human flesh.

Just about the most vexing question about the film - it is not a "problem" as such - is the question of authorship, by which I mean the question of who to blame for everything that goes wrong. It is also in this voice-over that we get much of the meat of the film, although "the brussels sprouts of the film" is a better metaphor: the apparently wise but thoroughly unpalatable message that is very good for us. In this case, Romero's contention by way of Debra by way of Josh that decades of television news, the easy availability of prosumer cameras, and the explosion of streaming online video, have all contributed to a society where we'd rather record what is happening or watch those recordings than actually experience life.

A fine if cranky theme as I suggested earlier, but expressed here with all the artlessness of a machete to the forehead. So my question: are the ridiculous narration and cheesy video transitions and all that the result of a great director, Romero, making some very ill-advised choices, or the result of a great director creating a character whose ideas about filmmaking aren't particularly well-formed. The Death of Death is certainly a bad documentary, but I don't think that Diary of the Dead is at all a bad movie.

Still the parts of the film that Debra didn't create, Romero must have, and that includes some very dispiriting moments such as when Josh's drunken British film professor Scott Wentworth compares holding a video camera to holding a loaded gun. George A. Top credits Director George A. See more at IMDbPro. Trailer Diary of the Dead. Photos Top cast Edit.

Michelle Morgan Debra as Debra. Shawn Roberts Tony as Tony. Todd Schroeder Brody as Brody. Laura de Carteret Bree as Bree. Martin Roach Stranger as Stranger.

Joe Dinicol Eliot as Eliot. Philip Riccio Ridley as Ridley. Tatiana Maslany Mary as Mary. Chris Violette Gordo as Gordo. Megan Park Francine as Francine. Scott Wentworth Maxwell as Maxwell. George Buza Biker as Biker. More like this. Watch options. Storyline Edit. While filming a horror movie of mummy in a forest, the students and their professor of the University of Pittsburgh hear on the TV the news that the dead are awaking and walking.

Ridley and Francine decide to leave the group, while Jason heads to the dormitory of his girlfriend Debra Monahan. She does not succeed in contacting her family and they travel in Mary's van to the house of Debra's parents in Scranton, Pennsylvania. While driving her van, Mary sees a car accident and runs over a highway patrolman and three other zombies trying to escape from them. But this time they seem to arise, not out of the internal repressions of the American nuclear family as they did in Night , but rather out of the violent mediascape that we all take for granted.

The bodies arise as they are being carted off to the morgue; one of the vicitims they attack is the newscaster herself. Like The Blair Witch Project , Cloverfield , and Redacted , it is composed entirely of shots that are taken from multiple sources, and edited together, within the diegesis i.

Here, a group of college-student filmmakers take video footage of all they see around them as the world falls apart under the impact of the living dead, and edit this together with material taken from television, the Net, and surveillance cameras. The mood of Diary of the Dead is somber and continually tense. Romero is still better than anyone else in orcehstrating the affects of the genre he invented. The film is entirely built around rhythms of tension and anticipation, of low-level anxiety that blooms into outright fear at just the right time I mean, at just the wrong time for the characters and viewers, and thus just the right time in terms of making the movie as unsettling as possible.

Sometimes you see horrible things, and sometimes you do not quite; by the standards of recent horror films in the Hostel and Saw mode, Diary of the Dead is in fact quite circumspect.

The women are generally more competent, and more able to hold themselves together emotionally and psychologically, than the white men. In all these films, the white men — rather than the women — tend to be the hysterics; they are generally given to some sort of ultimately self-defeating macho enactment that they refuse to give up on. Here, though, the obsession is not militaristic or power-hungry; it is rather the obsession to film everything, to record whatever happens on video, regardless of the risk, regardless of the harm to oneself or others.

At several points in Diary , the main male protagonist insists on continuing to film a zombie attack, rather than do anything to rescue the person being attacked.

In this way, Romero continues his career-long interrogation of white male vanity and white male hysteria: which turns out to be as dysfunctional in times of crisis and need as it is overbearing and oppressive to others in times of peace and material plenty.

But there is one sequence where the students come across a group of black people both men and women, but with more emphasis placed on the men who are hunkered down and determined to survive.

They explain that, due to the fact that all the white people ran away, they find themselves in charge or in control for the first and only time in their lives. They are grimly determined, but rational and mutually cooperative.

They have no interest in macho heroics at the expense of survival. They are concerned for themselves first, but they do not take advantage of the students who encounter them, even though they clearly have the firepower and the numbers to push the students around.