With that said, Night of the Living Dead (1990) was an enjoyable horror flick experience, one where it's a good time with color and gore and all (plus more full frontal zombie nudity) and as long as you don't think too deeply about what you are watching (and certainly don't try to compare the 1968 and 1990 versions together), you'll have fun.

There’s always going to be – for lack of a better term – a stack of films we’ve been meaning to get to. Whether it’s a pile of DVDs and Blu-rays haphazardly amassed atop our television stands, or a seemingly endless digital queue on our respective streaming accounts, there’s simply more movies than time to watch them. This column is here to make that problem worse. Ostensibly an extension of Everybody’s Into Weirdness (may that series rest in peace), The Savage Stack is a compilation of the odd and magnificent motion pictures you probably should be watching instead of popping in The Avengers for the 2,000th time. Not that there’s anything wrong with filmic “comfort food” (God knows we all have titles we frequently return to when we crave that warm and fuzzy feeling), but if you love movies, you should never stop searching for the next title that’s going to make your “To Watch” list that much more insurmountable.

Some will be favorites, others oddities, with esoteric eccentricities thrown in for good measure. All in all, a mountain of movies to conquer. The eighty-third entry into this unbroken backlog is Tom Savini's reverent remake of his mentor's horror landmark, Night of the Living Dead. On October 1st, 1968, a crude, black and white movie named Night of the Flesh Eaters was set to premiere on 14 screens in Pittsburgh, Pennsylvania. Crafted by a scrappy crew of local filmmakers who shot mostly on weekends in-between paying gigs, Flesh Eaters was locally advertised via ads designed by the father of director and co-writer, George A.

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However, the production was served by another entertainment collective prior to its debut, claiming they'd already made and were profiting from a picture titled Night of the Flesh Eaters, and that any exhibition of a new film with the same title would be an infringement on their livelihood, and thus subject to further legal action. By necessity, Night of the Flesh Eaters became Night of the Living Dead and prints were struck with that moniker for its big bow. During the process of renaming the movie, a re-organizing Continental Pictures failed to place a copyright notice on the Living Dead print.

So, while the picture grew in popularity – with many critics and audience members claiming it was the 'scariest movie ever made' – others outside of this Steel City creative family began striking their own celluloid copies for drive-in showings around the country, as there was nothing legally stopping them from essentially bootlegging Night’s regional expansion. Thus, Romero, co-writer John A. Russo, and co-producer Russell Streiner had to chase folks down to try and collect any sort of compensation they were owed, and even then there was no real recourse for them to get paid. Night of the Living Dead became a massive box office hit (especially considering it was so cheaply manufactured), and its creators barely saw a dime from those profits. Thus, a remake was born. Russo claims he began dreaming up a redux as early as ‘86, as a means to not only collect on the movie's now iconic name – not to mention Romero's two subsequent sequels: Dawn of the Dead ('78) and Day of the Dead ('85) – but also to firm up the copyright in a roundabout fashion.