Slay the Dead: Tina Romero’s Queens of the Dead (2025) Brings Glam to the Grave

George Romero is a legend in the horror world, known for his influential work in shaping the modern zombie genre. Although he did not invent the idea of the zombie, his name is most closely linked with zombie films, especially through his work as a director. His Night of the Living Dead series is regarded as one of the most influential, if not the peak, of zombie horror movies.

Romero's films are not only known for their horror but also for sharp social commentary. His movies often mirror the societal worries and issues of the time they were made.

The film was also groundbreaking in its casting of Duane Jones, a Black actor, in the lead role at a time when it was rare to see an African American actor in such a prominent position in a mainstream horror film, especially during the 1960s. This casting choice added layers of meaning and contributed to the film’s lasting importance in both cinema and social history.

George has inspired countless filmmakers and triggered many sequels and remakes over the years, including his own daughter, Tina Romero. That’s not to say she is copying her dad’s work, but she is pursuing it her own way in her first full-length feature film, Queens of the Dead.

There’s a quick cameo from horror icon Tom Savini, who cheekily says, “This is not a George Romero movie.”

Starring the talented Katy O’Brien, she plays Dre, an entrepreneur and DJ trying to finish loose ends on a drag event she’s helping organize at Yum, the local club. Things start to fall apart as her talent drops out, and it seems the event might not happen. She has a team at the club helping set things up: Ginsey (Nina West), Nico aka Scrumptious (Tomas Matos), Kelsey (Jack Haven), and Jimmy the bartender (Cheyenne Jackson).

Meanwhile, another timeline unfolds with Dre’s wife Lizzy (Riki Lindhome) and friend Sam (Jaquel Spivey) at the hospital where they work. Jane (Eve Lindley), a patient receiving care, develops a friendship with Lizzy and Sam. While Sam considers covering the talent at Yum that night—possibly—Lizzy and Jane eventually venture out into the chaos to reach their friends at Yum.

All while a zombie apocalypse is underway, with zombies that seem like a homage to the blue-tinted zombies of Dawn of the Dead (1978). Except way more fabulous.

First off, this film impacts you visually and aurally with its unique style. It features a vivid palette of bold neons, sparkling surfaces, shimmering lights, and striking, detailed costumes that evoke a retro-futuristic feel. Combined with a pulsating synthwave soundtrack, it creates an electrifying atmosphere that fully immerses the viewer. It almost feels like being transported to a lively, crowded nightclub full of energy and anticipation.

And with the cold open that immediately pulls you into the story's action—featuring our first zombie and its spread—I was sitting there, completely engaged, and eager to see what happens next.

You can tell Tina is a professional right from the beginning with this movie. The comedic timing and cuts to characters are spot on. I was laughing out loud multiple times throughout!

Tina skillfully blends humor and storytelling, highlighting her sharp eye for detail and her talent for guiding actors to deliver authentic performances. Her vision comes through in every scene, making the film not only entertaining but also a testament to her skill behind the camera. I'm impressed this is her first full-length feature.

The entire cast delivers stellar performances with distinct personalities. We already know Katy O’Brien is a force to be reckoned with from her role in Love Lies Bleeding. This was no exception. However, here she gives her character an emotional depth that shows O’Brien has incredible range.

Another standout was Jaquel Spivey as Sam. He brings a bubbly, fun, charming energy to the screen that makes me want to be his friend. His retired queen alter ego, Samoncé, makes an appearance at one point, and you better get the tissues ready because it is a moment that will pull at your heartstrings.

And the zombies! Like I said, they are tinted blue-green, but not only that, they have some sort of metallic component in their body paint, which gives them a shimmering, otherworldly glow that makes them look really fun and eye-catching. Everything is achieved through practical effects — from the intricate makeup designs to the realistic kills, blood splatters, and gore details. Absolutely charming… in an undead way. I especially loved this approach to making the zombies their own characters, giving them a unique personality and presence that stands out.

But there’s more to this film than just zombies attacking people. Since zombie apocalypses usually trap people in a specific environment, those people are forced to work together to survive. And this group of folks in Queens of the Dead have their own differences.

For example, Dre’s brother-in-law and plumber, Barry (Quincy Dunn-Baker), is the conservative straight man of the group. He isn’t hateful or malicious, but gets everyone’s pronouns wrong.

There is also a rift between Dre and Sam that develops as the story progresses. All this to say that even though these characters may have grievances against each other, they work through them as they collaborate, and it turns out to be a beautiful experience.

Not to mention a commentary on being in the queer community and facing attacks just for existing. Plus, these attacks are happening within your community because, well, zombies.

There are so many layers to this ghoulish onion, making Queens of the Dead a nutrient-rich movie. That plus all the witty one-liners that are top-notch comedy just tickle my fancy. I can’t praise this movie enough, and it really deserves to be seen in a packed theater.

I rate Queens of the Dead four out of five stars. I think some sequences in the middle could have been trimmed a bit, but overall, this will be one of my top favorites of the year. It is such a delight with wonderful performances, memorable laugh-out-loud moments, and a unique perspective through the eyes of Tina Romero.

And that’s on period.