Queens of the Dead review – drag performers slay on the party scene in playful zombie comedy

Tina Romero's "Queens of the Dead" injects a vibrant, queer sensibility into the well-trodden zombie apocalypse narrative, setting its outbreak amidst the pulsating energy of an LGBTQ+ warehouse party scene. This playful premise, while occasionally leading to a wobbly narrative, ultimately delivers a fun and endearing comedic-horror experience, brimming with laughs and splattery effects. The film's most significant asset is its exceptionally charismatic cast. Katy M. O'Brian, who recently garnered attention for her role in the Kristen Stewart-led film "Love Lies Bleeding," brings a compelling screen presence. She is joined by Cheyenne Jackson, a veteran of television comedy known for his work on "30 Rock." Together, they ignite the screen alongside larger-than-life comedic talents such as Nina West, a celebrated alumna of "RuPaul's Drag Race," and Jaquel Spivey, who made an impression in the 2024 musical comedy "Mean Girls." The dynamic interplay between these performers is a key driver of the film's comedic success, embodying the spirit of "slay, queen, boots the house down."

Director Tina Romero inherits a formidable legacy, being the daughter of George A. Romero, the visionary filmmaker widely credited with establishing the modern zombie movie with his seminal 1968 classic, "Night of the Living Dead." This familial connection is not ignored but rather embraced by "Queens of the Dead." The script cleverly acknowledges its "House of Romero" heritage by repurposing one of the original film's most iconic lines. The famous quote, "They're coming to get you Barbara!" is recontextualized as a sassy catcall within the new film, a meta-reference that effectively pays homage to its venerable ancestor while seamlessly integrating into the contemporary, playful tone of Romero's work. This moment serves as a knowing wink to the genre's foundational text and highlights the film's awareness of its place within the broader zombie film canon.

While the film is lauded for its entertainment value and its unique thematic approach, the storytelling occasionally stumbles, leading to a narrative that is described as wobbly but ultimately endearing. The choice to situate the zombie epidemic within the vibrant and inclusive LGBTQ+ warehouse party scene provides a fresh and distinctive backdrop for the genre. This setting is leveraged not only for its visual and energetic potential but also to explore themes within a queer context. The deliberate casting of drag performers and actors with established connections to queer culture further solidifies this thematic direction, aiming to offer a fresh perspective on a familiar horror trope. Despite these minor narrative inconsistencies, the film's playful spirit and the undeniable charisma of its cast ensure its appeal as an entertaining entry into the horror-comedy subgenre.