本片重拍自1978的經典災難型恐怖片，敘述人類的日常生活中常常跟進食一樣，在消化一切。而殭屍的進食行為和我們的社會有時也一樣，是無意識的在消化一切。 安娜克拉克（莎拉波莉飾）歷經恐怖的一夜，第二天早上從她位於威斯康辛市郊的家逃出來，遇上一小群倖存者，其中包括一位冷靜的警官肯尼（文恩萊姆斯飾），一位謙虛的電器銷售員麥可（傑克韋伯飾），一位街頭莽漢安德（麥基菲佛飾）和他的妻子，這群人逃到郊區一棟廢棄的大型購物中心避難。隨著外面的世界越來越恐怖，大群的恐怖殭屍組成了一隻軍隊，不停地設法攻入購物中心，倖存者不但要對抗不死之屍，還要對抗彼此以及內心的恐懼與懷疑。 這幾位購物中心的居民，被孤立於原本的世界之外，這裡成了人類最後的堡壘，他們得學會如何與彼此共存，並且運用所有可用的資源來保全性命，更重要的是--保全人性… 本片的殭屍造型揚棄了電腦動畫，化妝師安德森的設計取材自現實世界（他和他的小組蒐集了一本各種犯罪現場與法醫解剖的照片），再融入傳統的殭屍傳說（非洲與拉丁美洲的傳說），運用全新的技術與素材，創造出片中活殭屍的”死相”與”腐敗”，描繪出讓人恐懼不已的各種外觀。安德森不但要創造出殭屍們的恐怖新貌，還得面對每天要在片場創造出數百位活殭屍的大挑戰，最高記錄是一次出動了50位化妝師來幫演員們做特效化妝。 【活人生吃】中最重要場景---郊外的購物中心，在1979年的原作中是在匹茲堡的一座購物中心所拍攝，為了避開營業時間，當時的拍攝時間是從午夜到早晨六點。此次製作小組在勘查過北美、日本，甚至英國等地的購物中心後，則選定一座位於加拿大多倫多，廢棄已久已有二十年屋齡的針丘廣場購物中心，並運用短短八週的時間，將這廢棄已久的老購物中心，改造成一棟摩登現代的大型Shopping Mall。

When a comet passes close to the earth, machines all over the world come alive and go on homicidal rampages. A group of people at a desolate truck stop are held hostage by a gang of homicidal 18-wheelers. The frightened people set out to defeat the killer machines ... or be killed by them.

While delivering a parking ticket to a small village in the Florida everglades, Officer Dave Speed finds himself in the middle of a radiation experiment conducted by the American government and NASA, where a detonated nuclear missile gives him a multitude of superpowers.

The petite waitress Johnny works and lives in a truck-stop, where she's lonely and longs for love. She develops a crush on the garbage truck driver Krassky, although her sleazy boss Boris warns her that he's gay.

In Texas, the aspirant actress Nicole Carrow runs away home to Los Angeles with her boyfriend Jess Hilts. They drive through a shortcut in an old road, and when they park in a rest stop, Jess is abducted by the sadistic driver of an old yellow truck. Along the night, Nicole is threatened by the sick maniac, while mysterious things happen to her in the place.

Murugan, with his tools and expertise, protects Puliyoor's villagers from deadly tiger attacks. However, Daddy, an illegal drugs dealer, takes advantage of Murugan's innocence and wrongly frames him.

German vehicle fanatic Dieter 'Didi' accepts to drive a truckload of waste barrels to a French dump site. Didi ignores the plant needs to dump toxic waste after a major incident, which made the international news. But while the French site exploiter's agent Marcel believes it's Did's load, that's in fact a deliberately obvious diversion. Now everyone chases everyone else.

The story of Shikkar takes place at Chittazha, a mountainous terrain where bamboo reeds flourish. After much wandering from place to place, Balraman (Mohanlal) a lorry driver has finally settled down with his daughter (Ananya) at Chittazha. Peace evades the man as his past catches up with him, and Balaraman has to risk everything to safeguard his own life and that of his daughter's.

Inmates fight, pair off, try suicide and attempt escape at a British reform school for girls.

Long-haul driver Hannes (Manfred Krug) picks up a young hitchhiker, Herb (Jaecki Schwarz), who had a falling-out with his parents after dropping out of college and now travels around doing odd jobs. After a series of adventures, they are joined by Johanna (Jutta Hoffmann) and her child, who missed their bus and need a ride to Berlin. Johanna has left her husband so that he can reflect on their broken relationship and both men gradually begin to fall in love with her.

Vlada works as a truck driver during the NATO bombing of Serbia in 1999. Tasked with transporting a mysterious load from Kosovo to Belgrade, he drives through unfamiliar territory, trying to make his way in a country scarred by the war. He knows that once the job is over, he will need to return home and face the consequences of his actions.

Theo is having some bad luck. His barely paid-for truck has been stolen, and credit collectors are after him. The chase leads him across Europe.

An aging truck driver finds smuggled money and becomes involved with a hijacking crowd.

A self-employed lorry driver is determined to find the criminals responsible for hijacking him.

A lone truck driver who is lured into the woods by a nubile Lady Godiva discovers after he’s slept with her that all is not as it seems. The Sex Victims (1973) is very much part of the Britsploitation fold, featuring gratuitous nudity, working-class vernacular and rough sex. Yet director Derek Robbins also veers into some of the same uncanny territory directors like José Larraz would later explore at feature length, making it a unique hybrid. In fact, The Sex Victims would make a perfect bill cousin for Larraz’s Vampyres (1974) for the way in which it combines ample nudity with supernatural elements. (BFI)