While Fangoria magazine can get all giddy with anticipation over it, very few fans of this series will come away satisfied.George A. Romero's Day of the Dead is by far the least of the trilogy, lacking the unnerving eeriness of Night of the Living Dead and voluptuous brilliance of Dawn of the Dead. In fact, it's a a fairly disreputable picture -- virtually contextless, atrociously acted, negligently written, leadenly directed. It's hard to see what Romero had in mind when starting the project, for he neither expands nor deepens his original concept: it's just a boring series of overly talky scenes with obnoxious characters played by a second-rate cast spouting a barrage of gibberish writer/director Romero has concocted with the deftness of a dime-store charlatan. Where Night's main setting was an isolated farmhouse and Dawn's an empty shopping mall, Day's is a Florida military underground bunker where three scientists and an array of soldiers have taken refuge as part of a last-minute emergency operation initiated by Washington, D.C. to try to find out why the dead are returning to life in the form of blood-crazed zombies. Which, of course, is a vital mistake, because for the last two movies we haven't cared why, so the operation holds little interest for us; and because the characters involved in it hold little interest as well, all we can do is bide our time waiting for Romero and special-effects whiz Tom Savini to unleash their usual brand of no-holds barred gore in the final sections. Romero hasn't bothered to grace the movie with anything resembling an expressive visual style (the cinematography is drab, and the compositions equally so), and he doesn't take advantage of the limited spatial logistics of the compound -- they lack the compactness of Night, the layered variety of Dawn; eventually it dwindles down to the humans running down narrow hallways trying to escape the zombies. Boring. And because the humans are both dimensionless and unappealing, we have not so much as an iota of emotional stake in their fate. About the only novel element is that of a zombie named Bub -- the lead scientist (unsubtly nicknamed "Frankenstein" by the soldiers) has kept it alive and is experimenting with its cognitive memory: listening to music with Walkman headphones, thumbing through a paperback novel, and even handling a gun, it's quite affecting. In an inspired physical performance, and the sole reason to give the movie a look-see, Howard Sherman is touchingly "real."The 2-disc set from Anchor Bay Entertainment offers up oodles of special features that should keep you busy all afternoon.