George A. Romero was an influential horror director active between the late 1960s and 2000s. He is particularly famous for his zombie movies, most notably his Night of the Living Dead series, which practically spawned a subgenre all by itself. Above all, Romero was a highly creative filmmaker who excelled at creating immersive cinematic experiences despite the limited budgets of his early career. Indeed, with a budget of around $125,000 and a worldwide gross estimated at $30m, Night of the Living Dead is one of the most profitable movies of all time.

For good reason, Romero has been nicknamed "the Godfather of the Dead", though his filmography goes far beyond just zombie movies. He also made the cult drama Season of the Witch, the character study/psychological horror Martin, and the charming anthology film Creepshow, to name a few. At their best, Romero's movies serve up pulpy thrills alongside surprisingly thoughtful themes, often revolving around capitalism and the more negative aspects of modern society. A true legend of the genre, Romero's movies are sure to be referenced and emulated for decades to come.

10 'Knightriders'

Released: 1981

"You got to fight for your ideals, and if you die, your ideals don't die." Knightriders revolves around Billy (Ed Harris), a man who leads a group of modern-day knights that reenact jousting tournaments while living by a strict code of honor. The difference is that they ride motorcycles rather than horses. However, Billy's vision of maintaining integrity clashes with the commercialization of their performances and internal power struggles within the group.

Here, Romero once again displays his enduring interest in portraying small communities as reflections of broader American society. But in contrast to most of his movies, Knightriders is fundamentally hopeful. It suggests that one can find happiness by staying authentic. The characters' struggles with money and fame feel less like political commentary and more reflective of Romero's personal experiences as an artist. After all, he remained independent for most of his career, even though this meant that not all of his projects were successful. The result is a passion project that is rough around the edges but still charming.

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9 'The Dark Half'

Released: 1993

"Most of us keep that inner being locked up, hidden away. A fiction writer doesn't have to do that." Based on the novel by Stephen King, The Dark Half follows Thad Beaumont (Timothy Hutton), a successful author who secretly writes violent crime novels under the pseudonym George Stark. When Thad decides to "kill off" Stark by revealing his true identity, he inadvertently unleashes a malevolent force as Stark comes to life, wreaking havoc on Thad's life.

As people connected to Thad's past are brutally murdered, he becomes the prime suspect, struggling to convince the authorities of his innocence while trying to contain his demonic creation. The film is over-long and the narrative is a bit of a mess, but it's redeemed by Romero's sharp direction, creative murder scenes reminiscent of classic giallos, and a committed dual performance from Hutton. The villainous Stark is certainly against type for the actor. Plus, the climactic gore scene offers a satisfying payoff.

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8 'The Crazies'

Released: 1973

"The virus... it's in the water!" This horror-thriller tells the story of a virus outbreak in a small Pennsylvania town. Codenamed "Trixie", the disease turns its victims into homicidal maniacs. Unsurprisingly, the town quickly descends into madness as the infection spreads. Amidst the panic, a group of survivors, including the local sheriff, his pregnant wife, a nurse, and a firefighter, join forces to evade both the infected and the military forces sent to contain the outbreak.

The cast comprises mostly amateurs but, despite the lack of star power, the performers turn in commendable performances, given a sense of realism by the lack of big, recognizable names. Still, the narrative is slight at times, and the effects are flimsy, reflecting the small budget. These elements would be improved upon with the 2010 remake. Nevertheless, Romero deserves props for ably building suspense despite his meager resources. His commentary here on war, scientific ethics, and the breakdown of societal norms in the face of apocalypse is also interesting. The Crazies is a misfire, but a creative one, and a terrifically underrated movie.

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7 'Monkey Shines'

Released: 1988

"He had his little demon do it for him." Allan Mann (Jason Beghe) becomes deeply depressed after an accident leaves him paralyzed from the neck down. Concerned about Allan's well-being, his best friend Geoffrey (John Pankow) gifts him with a highly intelligent capuchin monkey named Ella to assist him. However, the bond between Allan and Ella takes a sinister turn when Allan's suppressed anger begins to influence the monkey's behavior.

Monkey Shines is a unique mix of humor, charm, occasional frights, and overall strangeness. This is solid genre filmmaking, albeit with some limitations in content and intensity, most likely because it was Romero's first studio film. Nevertheless, the stylish camera work, including point of view shots from the monkey's perspective, is well done. Most of all, Romero's direction is commendable for juggling contrasting tones simultaneously and (mostly) making them seem cohesive. In short, while far from a masterpiece, Monkey Shines succeeds more than it should.

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6 'Land of the Dead'

Released: 2005

"In a world where the dead are returning to life, the word 'trouble' loses much of its meaning." Land of the Dead takes place in a future where the remnants of humanity survive in fortified enclaves while hordes of zombies roam outside. A powerful businessman named Kaufman (Dennis Hopper) rules over the last remaining city, Fiddler's Green, where the privileged few live in luxury while the less fortunate struggle in poverty.

A group of scavengers led by Riley (Simon Baker), and his tough-as-nails friend Cholo (John Leguizamo) plan to steal a truckload of supplies from Kaufman and escape to a rumored safe haven. However, their mission brings them up against threats both living and dead. Land of the Dead was the first time that Romero worked with a substantial budget in over twenty years. He does the most with this larger canvas, merging gritty aesthetics with sharp themes of social division. The film marked a return to form for the director after 2000's disappointing Bruiser.

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5 'Creepshow'

Released: 1982

"This is going to be extremely painful." Creepshow is a comedy horror anthology that pays homage to the classic EC Comics of the 1950s, including The Vault of Horror and Tales from the Crypt. It weaves together five macabre stories: "Father's Day", "The Lonesome Death of Jordy Verrill", "Something to Tide You Over", "The Crate", and "They're Creeping Up on You!", two of which were written by Stephen King. They offer up a smorgasbord of frights, from vengeful zombies rising from the grave to a mysterious crate harboring a bloodthirsty creature.

The tales range from the unsettling to the goofy, but they are united by frenetic energy and an anarchic sense of fun. Creepshow stands out with charming stars like Leslie Nielsen and Ted Danson, along with its innovative practical effects and stylized cinematography reminiscent of comic book panels. As a result, it has aged better than most horrors of its era. Plus, Stephen King and his son Joe show up in small but memorable roles.

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4 'Martin'

Released: 1977

"Most people spend their lives worrying about dying. For a long time, I wished I would die." Martin (John Amplas) is a troubled young man who believes himself to be a vampire. He drinks the blood of his victims, but his gruesome behavior soon attracts the attention of his elderly cousin, Tata Cuda (Lincoln Maazel), who believes him to be a genuine vampire and seeks to destroy him.

Martin is an urban Gothic that showcases Romero's ability to convey profound depth with minimal resources. There are many elements to admire here: the skillful editing, unflinching violence, complex character study, abundant social satire, and deliberate pacing. It starts out as something of a slow burn but builds up to an ending that strikes with all the force of a stake to the heart. In a lesser director's hands, this could have been a forgettable B-movie, but Romero elevates it into something far more sophisticated.