Few movies can climb on good intentions alone, but near Zombie Zombie “Queens of the Dead” is approaching. It is directed by Tina Romero, The Sweatful Fends for the first time is a horror comedy full of pleasant and meaningful ideas, most of which stop its fruits. Romero is the daughter of the predecessor of George coma. Romero (from the reputation of “Night of the Living Dead”), and she directs her father’s charm for decades with unprecedented ghoul as cinematic symbols of society in general. By filtering the distinctive signs with a clear strange story that was placed in the clouds offer, it directed the inclinations of this ugly and influencing heart with a bright heart with a beating heart.
“Queen of the Dead” is the type of film that requires going with the flow – not by stopping your mind, but by keeping it sharp with expectations of expectations from improvement. Its aesthetic approach is rarely promoted to his gesture towards the camp as a guideline or heavy subject (except, perhaps, in his surprising final action). However, its aesthetic aesthetic foundations are supported by great characters well.
He sees the ridiculous introduction of the film that was appointed in the movie, the Queen of Brooklyn, the clouds, wet, coinciding with the dating application with a closed shepherd. As it turned out, this equivalent divine man has turned into “Walker” Ghouli with Silver Skin and Guit Cheekbones-Romero is the unique tongue in a world of influencers and lifestyle addiction. A terrible one later, religion has absorbed life from the strange performer, the hole of the division confirmed by more solid pieces to perform optimistic and Catholic clouds on Easter.
The public religious symbolism continues as a matter of courtesy of the anxious male nurse Sam (Jacil Spavi), who dances in hospital halls while his patients offer red blood clips from Jell-O, such as some harmful and fun communication. None of this is ever returning, which seems a little strange given his strong arrival. However, it is one of the many stray similarities that the film uses, and the metaphor language speaks like the back (if not the drama presented). The following is soon, it is a gradual and gentle introduction to a wide range of figures with strict dates-and this means, falling on disputes of the clouds-where the zombies creep slowly through the corners of the frame.
Before the spraying – with the permission of a televised advertisement from the veil of Tom Savini, a coma makeup legend – Sam learns that his former boss and his best friend, Bush DJ resort in Drey Drey (Katie Operator Carisimi) in a sudden need for a new Rabssi in a private bar. While Sam makes his way to Booshwick, in the hope of reviving his sleeping personality, Romero adapts to the writer drama in the scenes in the moving parts of the Maaret, which loves us for every character in this process.
With a curtain approaching, DRE is withdrawn in a million different trends by various performance artists-which he played like the Queen of clouds Nina West and Thomas Matos from Broadway-in addition to her trained brother (Jack Haven), and her conspiratory brother and conspiring behind Barry (Jack Dunn Dion). Elsewhere, while the city descends into chaos, he sees a lower subcontinent, the wife of Drai, the pregnant woman, Lizi (Ricky Lindhome), on her way to the tape, with the help of a transgender transformer outside the cities (Eve Lindley).
The band, which consists of strange artists, is a treatment from one scene to another despite being pierced by the dialogue that realizes humor with each line, but it only lands about half the time. However, the film stems to life in the middle of the road, as soon as the shepherds of the righteous realize. Soon, with the help of temporary vigilance crew led by Margaret Chu, such as fixed organic pollutants, lesbians with difficult tanks that offer an entrance worth applause on an electric motorcycle.
Fixed organic pollutants soon become a center for transient sabotage, but it is meaningful of the old zombie cup represented by the murder of the debtors of bitten, which focuses humanity over the instincts of individual survival and illogical fears. Some fast fiery jokes are placed with strange generations tension, and a private Chu placed as a large preparation helps to return to a feeling of society under siege during the AIDS crisis, which waved on the horizon a large ghost on this sub -plan that involves tenderness towards the injured, when the world treats them harshly.
“The Queen of the Dead” is not distinguished enough to drop alongside most classical classics of eye worship. However, the sweetness of the gesture helps to cross this gap. Even its most sophisticated moments are emphasized through a friendly nature rarely seen in this type of zombie. Its political reflections are clear, but its public nature allows the film to play in the form of a comedy of Scarin, a camp, a musician that never exceeds its welcome.