Just when you think the zombie genre has exhausted every possible permutation, a film like Queens of the Dead struts in, covered in glitter and gore, to prove you wrong. This is the feature debut from Tina Romero, and yes, that name carries weight. But while she works in the sandbox her father George A. Romero built, she is building a very different kind of castle.
This film trades bleak social dread for backstage bedlam, setting its story in a struggling drag club on the precipice of a make-or-break show. The curtain is about to rise when the world outside ends, trapping a motley crew of performers inside with their wits, their fabulousness, and an invading horde of the undead. It’s a comedy-forward horror movie that understands survival is a performance in itself.
The Ensemble in the Spotlight
A film set almost entirely in one location lives or dies by its characters, and thankfully, Queens of the Dead is teeming with life. Our way into the story is through Sam (Jaquel Spivey), a deeply compassionate nurse who left the drag world behind. Spivey makes Sam the story’s emotional anchor; you can’t help but root for his reluctant return to his persona, Samoncé.
Holding the chaos at bay is the club’s stressed-out organizer, Dre (Katy O’Brian), who projects a tough exterior but reveals a warm, funny heart. While the leads ground the film, the supporting players launch it into the stratosphere. The movie truly belongs to Tomás Matos as Nico, a dancer whose every line is a perfectly aimed, sassy retort that provides the biggest laughs.
In a surprising turn, Riki Lindhome, as Dre’s pregnant wife Lizzy, shelves her comedic persona for a raw, dramatic performance that carries the film’s emotional weight. Add in the unexpected pathos from Nina West’s veteran queen and a scene-stealing entrance by Margaret Cho as a tough-as-nails protector, and you have an unforgettable crew. It’s a shame that some talent, like Dominique Jackson as the star who cancels, feels sidelined, a missed opportunity in an otherwise vibrant cast.
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Balancing Camp, Comedy, and Commentary
The horror-comedy is a difficult tightrope to walk, and Queens of the Dead navigates it with audacious flair, even if it occasionally wobbles. The film leans heavily into its camp sensibilities, aiming for laughter more often than screams.
The script is packed with jokes, and while many are sharp, others don’t quite land with the precision of the drag culture the film celebrates. What’s remarkable, however, is the film’s refusal to let the comedy erase the stakes. When a character falls, the action pauses for genuine moments of grief, a touch of humanity that gives the story its pulse. This approach feels very current, reflecting a cultural desire for stories that can contain both irony and sincerity.
The film also gestures toward bigger ideas—the bonds of a found queer family, intergenerational tensions, and even a half-formed critique of modern life with zombies who clutch their glowing cell phones. These threads are not always fully woven into the plot, but their presence gives the film an interesting texture.
Pacing, Spectacle, and Undead Action
Structurally, the film makes a bold choice, dedicating much of its first act to backstage drama. It chooses to be a character piece first, introducing us to the personalities and their conflicts before the horror kicks in.
This slows the initial pace, feeling at times like a workplace dramedy, but it’s a gamble that pays off by making you care about who survives. When the action does arrive, it’s effective, with some gruesome set pieces, like a memorable encounter at a food truck. The zombies themselves are a stylish departure from the norm, with a strange, shimmery look.
They feel more like a force of nature than the central antagonists. This all builds to a finale that is pure, joyful spectacle. Sam’s climactic transformation back into Samoncé, complete with a show-stopping number in a DIY outfit, is the moment where all the film’s energy, heart, and camp coalesce into something truly special. It is a triumphant, cathartic explosion of creativity.
Full Credits
Director: Tina Romero
Writers: Tina Romero, Erin Judge
Producers and Executive Producers: Matt Miller, Natalie Metzger (Producers); Tina Romero, Jennifer Chalikian, J Clifford Forrest, Liz Liguori, Carole Baraton, Yohann Comte, Pierre Mazars, Pauline Boucheny Pinon, Patrick Fischer, Jonathan Feuer, Valerie Steinberg, Voxel Renaissance Films, Lindsey Helms, Joel Nevells, Mali Elfman (Executive Producers)
Cast: Jaquel Spivey, Katy O’Brian, Margaret Cho, Jack Haven, Quincy Dunn‑Baker, Katy O’Brian, Riki Lindhome, Dominique Jackson, Nina West, Tomas Matos, Cheyenne Jackson, Shaunette Renée Wilson, Becca Blackwell, Eve Lindley, Tom Savini, Julie J
Director of Photography (Cinematographer): Shannon Madden
Editors: Aden Hakimi
Composer: Blitz Berlin
The Review
Queens of the Dead
While its pacing can be slow and its humor uneven, Queens of the Dead is carried by the sheer force of its personality. A lovable, scene-stealing ensemble cast and a script with surprising emotional depth make this a zombie comedy with a real pulse. It’s a scrappy, heartfelt, and fabulous genre mashup that builds to a truly spectacular finale, making its flaws easy to forgive.
PROS
- An outstanding and charismatic ensemble cast.
- Genuine moments of emotional depth and heart.
- A spectacular, high-energy musical finale.
- Positive and respectful representation of its community.
CONS
- The narrative pacing is slow, especially at the start.
- The comedy is inconsistent and doesn't always land.
- Horror elements often feel secondary to the drama.
- Interesting thematic ideas feel underdeveloped.
