On the Caribbean island of Matul, white doctor David Menard is trying to stem the tide of cannibal zombies that are returning from the dead. Arriving on the island are Anne and reporter Peter West who are looking for Anne's missing father. The pair soon find themselves under attack from the zombies.
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Italy 
18 
UK18 
Ireland18 
Netherlands16 
USAR 
Thailand 
Hungary18 UK18 
Sweden Netherlands16 Sweden Hungary Ireland Italy Netherlands Sweden Thailand UK USA
The ultimate tropical nightmare jam—91 minutes of Fulci travelogue mixed with iconic grotesque gutmunching synched to the metronomic soundwaves of pulsating tribal beats courtesy of the great Fabio Frizzi, as Fulci immediately drops us into a Voodoo Undead Nightmare filled with sinewy flesh ripping, shark fighting, headshot hospital deaths, Molotov cocktails, THE eye gouge of the century, throat shredding, and rising conquistadors. A slow boil before overflowing with a cataclysmic non stop chaotic armageddon final act as the world goes down like a sinking ship.
There may be better undead cinema, but for me this is the ultimate Zombie movie and my favorite the sub genre has to offer—with Fulci’s zombies as my preferred look as far as stomach churning repulsive mud caked gut gobblers go... decayed worm-food ramshacklers... I can smell the rot.
Legendary.
The new restoration looks damn beautiful, very excited to see Blue Underground’s new Maniac restoration as well!
Just experienced this the way Lucio Fulci intended it to be seen: low-rent smelly theater, faded-to-shit print, projectionist mes, a screaming baby in attendance for some reason, and a preshow Looney Tunes short that seemed legitimately racist against Italians. No matter the setting, nothing can disrupt the man’s sheer power to mount unbearably slow dread directly into the nose-rubbing gross-out images.
[35mm]
100
Gosh. Zombie. Zombi 2. Zombie Flesh Eaters. Whatever you want to call it, doesn't matter in the slightest. It fucking rules. Lucio Fulci's greatest achievement in so many respects - atmospherics, pacing, minute-to-minute disparity of composition and editing. No film, before or since, has moved like this, seemingly on its own tropical lexicon of tactility and existential dread. Fulci has a reputation to be all about viscera and nothing else, but it couldn't be further from the truth. This is the greatest Italian horror film in my worm-infested eyes. Even the traditional exploitative moments, as when the captain's wife strips down to go scuba-diving, are haunted and seeped in dread. Fulci cuts back and forth to reaction-shots of the…
Post-narrative. This is not to confirm the common (mis)conception that Fulci is narratively inept (this idea is directly contrasted earlier in his career: Don't Torture a Duckling is a fluid network narrative decades ahead of the vogue; Beatrice Cenci cogently layers differing flashbacks, investigations, and personal reflections). Rather, Fulci here begins his radical stage (culminating in the films he'd make in the 1980s) of dismantling linear plot in order to explore ideas or aesthetics.
Fulci, however, does not fully abandon narrative. Zombie is delineated by the signposts of plot; like several of his most celebrated horror films in the years following, the semblance of narrative coherence maintains a basic structure (a small note: even here, Fulci isn't narratively inept: he…
Wish movies in 2023 looked like a Fulci movie from 1979.
Other than the much talked about shark vs. zombie fight and the sun-stroked tribal island vibes Fulci isn't really reinventing the zombie genre here but his sensibility of slow-mounting dread, borderline surreal horror setpieces and too tangible gore FX works really well for it. He's patient with the reanimated movements as they rise from the dirt and heavily focuses on how repulsive they look, smell and feel. He rubs our faces in the gushing blood and torn limbs, and the wide-angle lens close-ups of their faces make sure there's no rotted texture, or wiggling worm we don't see. Also, has Fulci ever seen a beautiful actresses eye that he didn't then want to viciously gouge out with various objects lying around the set?
It's nice to see Fulci working with a real budget. Beautiful picture. If you were making a list of the hundred most beautiful images in film, you would probably include a couple shots from movies other than this.
This is the anti-Jaws in that the zombie/shark fight makes it clear how non-confrontational sharks are in reality. A man dressed like a zombie hangs off one of them and pretends to fight it for several minutes and the poor thing's just like "Jesus dude. Can I help you?" before finally swimming away.
"Have you ever heard of Voodoo?"
The Voodoo, who do what you don't dare do, people
When Anne Bowles missing Father's boat arrives in New York minus her Father but with a plus one zombie stowaway instead she decides with the help of a local reporter (love interest alert) to sail to the probably made up Caribbean island of Matul (should have googled it, but didn't) where he had been working on some shady (zombie) stuff ... cue happy holiday music and we're off.
Classic video nasty with some great zombie effects and some not so great, the eyeball scene is still absolutely gnarly as hell and there is a questionable diving costume that leaves nothing to the imagination but it does at least answer the age old question - who would win in a fight a zombie or a shark?
"The boat can leave now, tell the crew"
I'd rather drown.
It's a film where a bloke wearing zombie prosthetics goes underwater and fights a live shark
like what else could you possibly want
A remarkable cult classic by Lucio Fulci that is as influential to the zombie genre as George A. Romero! Graphic Gore that would make a maggot puke! Hellacious looking zombies! Complete with an unbelievable underwater scene that will rock your world! (And it couldn't have been achieved without horse meat and sedatives!)
the zombie vs. shark sequence plays out like nothing else i've ever seen; a jousting-dance between two non-human figures, an unreal fantastical scenario that possesses the texture of a dreamy pulp comic book. the diffused light from above the surface shimmers onto both creatures, casting them in graceful glitters against the dark and encrusted coral reef. there is an elegance to the undead here; they do not shamble in a mad lust for flesh, but slowly advance, inevitable in their patient consumption of the globe, their subterranean immortality possessing an illogical, poetic vigor.
This is the greatest zombie movie ever made. Did my avatar give my stance on this away? When I think about the plethora of zombie films, television, and videogames I’ve taken in since I first saw this one, I realize that I’ve become somewhat numb to the genre. And yet, Zombie Flesh Eaters still feels fresh. Still stands out among the horde.
A seemingly abandoned boat is found floating around Manhattan island, setting up a story of the owner’s daughter leaving New York to find him on the fictional isle of Matul, where all hell is breaking loose. Natives there claim voodoo is bringing the dead back to life.
There are tons of exciting, memorable moments, A zombie fights a shark! An…
