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Scouts Guide to the Zombie Apocalypse is a 2015 American zombie comedy film directed by Christopher Landon and written by Landon, Carrie Evans, Emi Mochizuki and Lona Williams. The film stars Tye Sheridan, Logan Miller, Joey Morgan, Sarah Dumont and David Koechner. The film was released in the United States on October 30, 2015, by Paramount Pictures. It received mixed reviews from critics.

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Then Shaun of the Dead happened, and the genre shifted once again. Edgar Wright's meta zombie comedy was a love letter to the genre, a razor-sharp deconstruction of the zombie classics, and a zombie classic in its own right. The next year, Romero released Land of the Dead in theaters, his first directorial return to zombies in three decades. It was officially official. If the godfather of zombies was back, Zombies were definitely back. By the end of the early '00s, there were literally dozens of zombie movies a year (and more of them than ever had the word "zombie" in the title). What was even more amazing was how many of them were worth watching. There were post-modern deconstructions (Cabin in the Woods, Zombieland), clever mutations to the DNA of the creatures (Mulberry Street, Pontypool), foreign films (Rec, The Horde), remakes of foreign films (Quarantine), and animated films (ParaNorman), not to mention all the straight-up entertaining low-budget shlock that was hitting DVD shelves en masse.

In the years since, the production on zombie movies has drastically slowed, especially at the studio level. There's still a lot of, ahem, hunger for the genre in indie cinema. But, in terms of volume and often quality, the zombie movie has taken a backseat in recent years. Is it genre burnout? Did audiences tire of the undead the way they tired of Westerns? It's possible, but unlikely considering the success of one pop culture juggernaut: AMC's The Walking Dead, which has triumphed in ratings since it debuted back in 2010. It's likely the success of that series has a role to play in the way zombie movies have withered at the cinema, either because audiences are burnt out or zombie fans are getting their fix at home. Or maybe, it's cultural. Romero created the modern zombie film during times of great social change in the world, they resurfaced at the height of the recession and war on terror in the early 2000s, and now that we're in the midst of an era of international political turmoil, I've noticed some pretty good zombie movies popping up again.

28 Days Later subverted the conventions of the zombie genre in such clever, convincing ways, it became the modern-day zombie template that countless films tried to mimic. 28 Weeks Later was smart enough not to follow the blueprint and flipped the script, depicting the British government's attempt to rebuild society in the aftermath of the rage virus and the subsequent outbreak that brings it all crashing down. Through the contained military facility we get to witness a small-scale version of the viral apocalypse that we missed in the first film and the desperate, hopeless attempts to stop it. That makes 28 Weeks Later is a bit more of a conventional zombie film, depicting the downfall of society and the breakdown of boundaries in times of terror, but it's a very good conventional zombie movie. Fresnadillo hits all the right notes, lacing the broad arc with intimate family drama and depending on his superb cast to sell every moment of heartbreak amidst the bloodshed. -- Haleigh Foutch

Borrowing heavily from the exploitation aesthetic with the kind of budget its forbears could only dream of, the film stars Rose McGowan as Cherry Darling, a brassy go-go dancer who finds herself in the midst of the apocalypse with a rag-tag band of survivors -- played by an A+ ensemble of underrated actors who finally get to play the leading roles they've always deserved. Flesh-hungry humanoid mutants tear through the Texas countryside, leaving a gooey trail of body parts in their wake. In short order, Cherry winds up with a machine gun for a leg, as you do, and the film boils over into a chaotic free-for-all of bloodshed and grotesqueries. It's a blast and it triumphs because it leans in so hard. Just look at the "missing reel" in the second act, which skips everybody's least favorite part of a zombie movie and jumps right into the climactic third act. And that's Planet Terror in a nutshell; audacious, goofy and always going right for the guts. -- Haleigh Foutch

The concluding chapter in Romero's original "Dead" trilogy, Day of the Dead has never found the frenzied fans of its two predecessors. In fact, it's often been met with some harsh criticisms, which is unfortunate because it's a staggering zombie film in its own right. Perhaps it's the idea of sentient zombies, a tenet of Romero's later "Dead" films introduced in Day of the Dead via Bub, the loveable flesh-hungry fiend who begins to show signs of cognizance during military testing. Or maybe it's the script, which turns up the volume on Romero's trademark cultural critique until the skewering tips over into preachy territory.

But here's the thing, while other filmmakers may have been happy to recreate the formula that worked for them in the past, Romero consistently evolved his living dead films, and Day of the Dead was the boldest of them all. Set on a military base, Romero gets downright political, asking hard questions about power and how much anyone organization should or can ever have. It's a pensive film, not quite as primal as Night of the Living Dead and nowhere near as funny as Dawn of the Dead, which makes it a slow watch. But hoo boy, if you came for zombie gore, is the payoff rewarding. Day of the Dead has some of the most stomach-churning, sticky practical effects in the history of horror, practically painting the sterile military base red in the final act. -- Haleigh Foutch

28 Days Later redefined the zombie aesthetic for a generation of filmmakers. Directed by Oscar-winner Danny Boyle from a script by brilliant sci-fi scribe Alex Garland, 28 Days Later rubbed zombie purists the wrong way at first. For one thing, they weren't technically zombies but humans infected with a feral rage virus, and as a result, they moved way too fast. Purists scoffed, but audiences around the world discovered a new approach to the beloved genre that has not only endured but become one of the most influential modern entries in the genre. 2b1af7f3a8