Were Brad Pitt of World War Z to meet Brad Pitt of A Tree of Life, you could have Maggie. Almost. For, while Terence Malik hangs heavy over this film, Hobson — who was a part of Malik’s A Tree of Life — jettisons the symbolism long enough to give us a warm, working family strained by a zombie scare.

Heading an excellent ensemble, Arnold Schwarzenegger brings unexpected complexity and compassion to his role of the distraught father.

A zombie film of unusual depth, Maggie gives American horror cinema the shot in the arm it so desperately needs. Miss it at your peril.

…result in an ironical fetishisation of the very genre he is trying to lament, but at least accounts for the relentless atmosphere of death and grief that rests heavily on the film.

The film straddles a sort of middle ground between scary and family drama and it takes a look at the other side of a zombie film – the human side sans violence. Refreshingly, jump scares are diligently avoided too. Breslin’s performance is both intense as well as moving. But most surprisingly, Maggie sees a rather interesting change of pace for Arnold Schwarzenegger, who pulls off playing a caring, sensitive character pretty well indeed.

They say less is more. For the most part, in this film, it isn’t. This isn’t your average post-apocalyptic/ zombie flick.

…is a well-directed zombie film that is pleasantly engaging. It will appeal to those who are not into gore and blood curdling horror.

Maggie is a novel idea. In certain places its shot beautifully as well. But the film is too indulgent and deliberate. That it’s a departure from the regular Arnie movies is a good thing. But fact is, this film has the ability to zombify its viewers in a slow trance.

The biggest letdown of the movie is that it isn’t scary at all – it makes you wonder what the filmmakers were aiming for. Neither is the drama powerful enough to keep you interested, nor are there any cheap thrills for fun. ‘Maggie’ ultimately is stuck somewhere in between the two ends, and is a fairly big disappointment, especially for fans of Arnold Schwarzenegger.

But the theme of unconditional love is, vitiated, in your reviewer’s humble opinion, by the promotion of suicide and mercy killing (suggested by a doctor no less). It boggles the mind that doctors who take the Hippocratic oath to heal and save life should actually support its termination in violation of the ancient (2,500 year-old) oath which states, categorically in one section: “And I will not give a drug that is deadly to anyone if asked, nor will I suggest the way to such a counsel.” The film also indicates that Heaven awaits the good who commit suicide, again, a theologically flawed position for suicide is not the same thing as martyrdom.

Even though Maggie has been wrongly categorized as thriller or horror, it has pulled off drama better than any other film. The void that is formed due to the lack of action is efficiently filled by the emotional music and the few but powerfully delivered dialogues. Apart from a few flaws, the film is a unique display of life, love and loss set in the backdrop of a ‘necroambulishm’ (We’re too scared to use the Z word) infected town. Grab a bucket of popcorn and take those tissues not to hide your face in, but to wipe your tears.

The idea of an emotional drama that looks at the conflict of turning into a zombie is distinctive. However, barring one or two textbook shocks and a few disturbing scenes, Hobson’s narrative moves at such a lethargic pace that it’s unlikely that this zombie terminator will be back.