The zombie movie is a silly but stimulating beast, a popular sub-genre in horror that has survived, evolved and outlasted many of its counterparts for as long as movies of this nature have been popular on the big screen. Those who acknowledge it as such would also be more than happy to stress the fact that the cinematic undead developed a lot more potential after they were discovered by George A. Romero, the director who, in 1968, took a nearly childish premise and used it as a platform for things no one would have ever expected of the material: that is, thought-provoking (and relevant) social and political commentary. Many an avid filmmaker have made great efforts, have sought various avenues, in their attempts to capture the success – or better still, the resonance – or the director’s notorious and on-going series of “Dead” films, but almost none have ever quite tapped into the safely-guarded chutzpah that continues to tower over all his would-be successors. Many still fail to realize that the key rests not in zombies themselves, but rather in the well-executed atmospheres that envelop them. Isolated, the flesh-eating undead make notoriously uninteresting characters; but surround them in a premise and narrative that tap into human feeling and psychological unrest, and an audience will have no problem projecting genuine fears onto them. Before Romero, stories about the undead were the stuff of B-movies, and zombies were just their visual distractions.