Written by: Josh "The Merc" Raynor
Tina Romero comes out of the gate swinging with her directorial debut, Queens of the Dead. Following in her father's footsteps, she uses the idea of a zombie outbreak as a mirror to today’s modern society. But where her father critiqued consumerism and conformity, Tina’s focus is on identity, resilience, and the radical act of queer joy in the face of chaos. She manages to hold onto that independent spirit that made George A. Romero’s films so great — using practical effects, ensemble storytelling, and showing a deep empathy for outsiders — while also reinventing the form and showcasing color, music, and an unapologetic sense of queerness.
Speaking of the ensemble cast, I was so delighted to see some fantastic actors in this film that I recognized from other projects, such as Riki Lindhome, Katy M. O’Brian, Cheyenne Jackson, and Jaquel Spivey, as well as a wonderful cameo by none other than Romero regular, Tom Savini. They all give great individual performances, but it’s the chemistry of the entire cast that pulls this together and makes it a great watch. The film was even surprisingly emotional at moments, which I wasn’t expecting. Tina’s script is sharp and clever, with witty dialogue and authentic banter that really makes the world feel lived in, even at its most ridiculous moments.
While I’m not the biggest fan of the gray-skinned zombie look, I do feel like it fits well with the film’s more comedic, satirical tone. Tina also manages to beautifully merge the drag aesthetics with the classic George A. Romero style for this horde of undead, mixing rot, decay, and blood with glitter, sequins, and makeup. I also loved the commentary on society’s obsession with screens as many of these zombies are seen shambling down the street still staring at their phones.
The absurdity of the premise — a Brooklyn drag show is interrupted by a zombie outbreak, trapping a community of queens, misfits, and club kids in a warehouse where the lines between performance and survival blur — truly allows the story to shine in unexpected ways. What begins as a quick dive into chaos becomes more about finding your chosen family and the importance of being true to yourself.
My only real gripe, other than what I’ve previously mentioned, was that the pacing felt a bit slow in the middle, but even with that, I was engaged the whole time and was rooting for these characters to survive.
Overall, Tina Romero’s debut film is a beautiful love letter to the incredible work of her legendary father, while also creating a space for itself and, hopefully, more like it in the future. We need more horror, and films in general, that celebrate queerness instead of just tokenizing it for the sheer sake of representation. There’s always time to celebrate uniqueness — even when the world is ending.
The Merc’s Score: 8.5/10
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