Freddy and Frank proceed to freak out and attempt to silence the dog by bashing it with a walking crutch. Upon investing, they find out that the half-dog anatomy display has returned to life, the dog whimpering in pain and panting. They head upstairs to try and sort things out only to hear a strange noise coming from one of the shelves. Time passes and Freddy and Frank awaken and see that the body in the canister is gone they assume it dissolved upon contact with air. They arrive early and in an effort to pass the time, decide to hang out in the cemetery that is next door. While this is happening, Freddy's girlfriend, Tina (Beverly Randolph), and her friends are going to pick up Freddy from the warehouse. Frank reassures him of the solid military construction of the barrels by slapping it on the side, causing a leak of the gas, poisoning and knocking out the two as we see the glass on the lid break open and the body start to liquefy. Inside the barrel they see the now-mummified remains of the body and Freddy is scared about the barrel's durability. A skeptical Freddy doesn't buy it, so Frank takes him to the basement and shows him the barrels. Through a clerical error, a few barrels, containing the Trioxin infected bodies, were shipped to the warehouse and have remained there for years. The story was leaked and the military said the movie, NotLD could be made but they had to change the story around and say it was fictional. The military was able to get a handle on the situation and clean up the spill and the infected corpses. Essential, enormous fun.Medical supply warehouse foreman Frank (James Karen) informs his new protégé, Freddy (Thom Matthews) that Night of the Living Dead was based on true events that occurred when a gas ( 2-4-5 Trioxin) was released into the morgue in the basement of a Pittsburgh, VA hospital causing the bodies to jerk around as if they were alive. If you don’t believe us, witness Linnea Quigley’s infamous naked graveyard dance number, if you dare. Instead, he was interested in subverting the conventions and tropes already established by Romero (whose own po-faced Day Of The Dead also emerged that year must have been something in the zombie water) and embellishing them with leftfield plot turns (the mortuary workers who accidentally unleash the zombie virus slowly turn into zombies over the course of the film, with Thom Mathews and, in particular, James Karen milking the transformation for plenty of chuckles) and a punkish anything-goes attitude that papers over the film’s many uneven patches. Zombie purists may be appalled - not only do O’Bannon’s breed run, they also speak, memorably wiping out waves of policemen only to get on the radio and request reinforcements - but O’Bannon isn’t interested in purism. Romero’s zombie flicks were based on truth?) and, like Stuart Gordon’s Re-Animator (which came out the same year) spins off into a lurid, blackly comic nightmare that has as many laughs as it does pure scares. But he did something similar with his little-seen directorial debut, The Return Of The Living Dead, which takes a deliciously simple idea (what if George A. He is the guy who wrote Alien, which transplanted the haunted house movie into space. Usually slap-bang on top of its head, sending bits of brain everywhere. Dan O'Bannon never had the career he deserved, given that he had a knack for taking a genre and turning it on its head.
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