Spend your Hallo-weekend at the DIA! The DIA's Detroit Film Theatre is offering a frightening lineup of films including the newly restored versions of the original “Night of the Living Dead” and “The Old Dark House,” as well as “The Crazies” October 27–29. Tickets for each movie are $9.50 for general
admission and $7.50 for members, seniors and students. Showtimes are:
Oct. 27, 7 p.m., Oct 28, 4 p.m. Oct 29, 2 p.m.
“The Old Dark House” (restored in 4K) 1932
Five travelers caught in a storm take shelter in a menacing, gloomy mansion, where they find themselves terrorized by a monstrous, eccentrically aristocratic family. Boris Karloff, Charles Laughton, Melvyn Douglas, Gloria Stuart (Titanic) and Raymond Massey are among the great cast of over-the-top stars in this legendary, wryly sophisticated comic horror movie directed by the great James Whale (Bride of Frankenstein, The Invisible Man).
Oct. 27, 9:30 p.m. Oct. 28, 7 p.m. Oct. 29, 4:30 p.m.
“Night of the Living Dead” (restored in 4K) 1968
Today’s zombie craze has nothing on the original “Night of the Living Dead,” the movie that introduced zombies to mainstream cinema. In the movie, a disparate group of people take refuge in an abandoned house when corpses begin to leave the graveyard in search of fresh human bodies to eat. The pragmatic Ben (Duane Jones) does his best to control the situation, but when the reanimated bodies surround the house, others in the group begin to panic. As any sense of order within the group begins to disappear, the zombies find their way inside and, one by one, the living humans become the prey of the deceased ones. The movie is also seen as a commentary on the increasing tensions in American society in the 1960s—as the film shows, people had as much to fear from each other as they did from zombies.
Oct. 28, 9:30 p.m.
“The Crazies” 1973
When a biochemical spill takes place in a small Pennsylvania town, infected citizens turn homicidal. Though the military (suspect in their motives) tries to contain the damage, it quickly becomes impossible to tell the difference between the “biologically crazy” and the panicked opportunists who seize the situation to declare open season on troublesome friends and family. This portrait of out-of-control chaos and paranoia in the heartland (made right in the middle of the Watergate era) is a fascinating, rarely-screened work of contemporary horror.