George Romero, director, Pordenone, Italy, 2010. (Photo by Leonardo Cendamo/Getty Images)
Movies - TV
All 17 George Romero Films, Ranked Worst To Best
17. There’s Always Vanilla
Romero is known for his zombie flicks, so “There’s Always Vanilla” is a bit of an oddity in his oeuvre. Part romantic comedy, part satirical drama, part horror, this film is about disillusionment and eschewing conventionality. Like all of his work, there is a strong counterculture and political undercurrent, but the movie's plot is too aimless to rank among his best.
16. Survival of the Dead
During the zombie apocalypse, a small group of soldiers arrives on Plum Island, where instead of shelter they find two warring families who are split on whether to kill all zombies or keep their undead loved ones alive until a cure is found. Romero does a great job of exploring the futility of factionalism, but the film feels like a retread of better Romero movies.
15. Diary of the Dead
“Diary of the Dead” is premised on a group of students shooting a horror movie and a news crew reporting on reanimated corpses who find themselves recording the start of the zombie apocalypse. The movie makes a pointed effort to blur the lines between humans and zombies, and although the movie has a lot to say, it’s hardly subtle, earning it a lower spot.
14. Two Evil Eyes
In “Two Evil Eyes,” Romero pairs up with Dario Argento to adapt the works of Edgar Allan Poe. Romero’s half of the film, “The Facts in the Case of M. Valdemar,” is by far the stronger half, and tells the story of a husband who comes back to haunt his wife and her lover. Romero is clearly having fun with the film, and his love of the horror genre comes through on-screen.
13. Bruiser
“Bruiser” tells the story of an office worker, Henry, who feels so invisible and dehumanized in his life that one day, he awakens to find his face transformed into a blank, white mask and goes on a killing spree. Henry eerily echos Romero’s zombies, stripped of individuality and mindlessly following, posing the question of whether we're not zombies already.