is the only film by George A. Romero that's truly amazing, among the greatest works of American Grindhouse.
is very smart, very tragic and very beautiful.
has a cast made up of average-looking people rather than the abnormal beauties eternally populating Hollywood worlds.
includes tongue in cheek humor that doesn't disrupt the seriousness of the story.
leaves everything to the viewer.
is a highly sympathetic character.
slides into dreams/memories(?) without boundaries, sounds from different scenes overlapping.
has gore so tactful you cringe or look away despite the fact that the blood is bright orange.
has a slightly out-there synth soundtrack.
manages to be sexy in spite of everything.
delivers, without any of the serious problems that are mainstays of grindhouse like bad dubbing, long boring montages, unbearable dialogue, terrible acting, or blooper-reel material (boom mic in frame, etc.)
has a fucking sweet ending.
begins with no fanfare, or logos, or even black leader- immediately the screen is filled with people getting on the train. In this first quick shot a brief exchange occurs and the story is already rolling. The credits appear sporadically over what can either be called a very long prologue or a kind-of-short first act wherein a very young man prepares, then attacks and murders, then drinks the blood of a girl on the train.
has cameos by Romero and special effects man Tom Savini that both impress in their naturalism and humor.
is a neorealist document of the suburbs, streets, and alleys of poor Pittsburgh in the mid-seventies.
is definitely a vampire movie, whether or not you think it has any actual vampires.
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