‘Queens of the Lifeless’ evaluation: Tina Romero queers the zombie movie, exuberantly

“They’re coming to get you, Barbara” is essentially the most well-known line from 1968’s revolutionary “Night time of the Dwelling Lifeless.” It’s a imply taunt that comes from a sibling, unaware that civilization is crumpling round him. In a number of moments, his sister will likely be fleeing throughout a subject barefoot from an undead zombie (phrases which might be by no means used within the film as a result of it’s so forward of its time) and any Boris Karloff impressions will shortly be forgotten.

The road additionally sounds remarkably comfy popping out of the mouth of a drag queen — one of many many sides of shade served within the generously humorous and sharp “Queens of the Lifeless.” Directing and co-writing the movie is 42-year-old Tina Romero, daughter of George Romero, “Night time’s” authentic progenitor, whose demise in 2017 was met with the type of belated cultural reward often reserved for Oscar winners.

Tina Romero understands the legacy of her father higher than most. It’s not only a matter of gathering a bunch of bickering survivors inside a besieged location — right here it’s a transformed Bushwick warehouse — whereas the skin world goes to hell. (Including to the movie’s bona fides, legendary make-up artist Tom Savini makes a cameo as town’s mayor on TV: “This isn’t a George Romero film,” he warns.) Shrewdly, “Queens of the Lifeless” additionally foregrounds the deeper meanings that gore-obsessed knockoffs typically miss: the concept working collectively throughout variations is more durable than it appears and perhaps the monster is already calling from inside the home.

Pink-hued and queered so aggressively that solely a prig received’t be capable of discover some RuPaul-adjacent enjoyment in it, “Queens” stars Katy O’Brian, final seen as Kristen Stewart’s sculpted lust object in “Love Lies Bleeding.” Right here O’Brian has far more to do emotionally as Dre, a wanna-be impresario with huge goals for her drag occasion, Yum, even when her points of interest preserve bailing and her audience of influencers is within the means of turning into lumbering flesh-eaters. (They nonetheless clutch onto their cellphones, a pleasant contact.)

Inside the makeshift membership — a dressing room, a bar, some dance cages that can determine later — tensions flare and Dre has her arms full. Ginsey (Nina West), a hardworking diva, holds down the fort whereas unreliable protégé Sam (Jaquel Spivey) chooses this second to point out up and ruffle feathers. Sad with second billing, a youthful queen (Tomás Matos) insists on being referred to as Delicious whereas a gruffly accommodating handyman named Barry (Quincy Dunn-Baker, a wise inclusion of George Romero’s blue-collar streak) tries to maintain all of the pronouns straight.

Confidently, Tina Romero makes room for a splendidly dumb makeover montage and a daring escape through Delight Parade float. If the comedy overcompensates on the expense of touchdown each gag, then good on her. It’s lengthy overdue and there’s one thing touching to the concept the top of the world would possibly unleash management qualities in those that’ve had a tough time current within the previous one.

However a movie this well-made and lower (the pacy enhancing by Aden Hakimi calls again to the elder Romero’s personal chopping of his main titles) shouldn’t be relegated to only one type of viewers. Anybody who appreciates horror ought to discover one thing to smile at right here. Perhaps it’s the aspect plot — as satisfying as a worn-in pair of footwear — of Dre’s spouse, Lizzie (Riki Lindhome), a hospital nurse, racing throughout city in an previous Impala.

Or, true to zombie film type, there’s the mid-film arrival of a game-changing character, the synthesizer music pumping. Right here it’s Margaret Cho on a motor scooter, cruising via a cloud of exhaust. “You all look wholesome sufficient,” she tosses off, an motion hero within the making. And sure, that’s as thrilling because it sounds.