The dead litter the grass and religious matriarch Muldoon (like all pro-lifers) wants to restore their own view of life while never afraid to take actual human life in the process of getting his message across. Meanwhile O'Flynn is more based around atheistic and pro-choice beliefs where he thinks cutting down the dead has nothing to do with religion at all but more about personal welfare and consideration to our own well being. That is all pushed aside because who is right and who is wrong becomes irrelevant when the dead begin to gain leverage on the families and prove once and for all that they've become the dominant race. Continuing to push his rather entertaining dark comedy in the process, Romero is still capable of bringing us sharp and bleak horror films with a view of this small island who claim to be better than the world outside the water but are just in the same muck and grime as everyone else in the cities and metropolitan areas. Van Spring gives a very good performance here as this man simply observing from a distance like the kids in "Diary" behind their cameras. Like everyone here, he's trying to figure out where to lay his loyalties and once he gains a full perspective of the lunacy taking place in even the most level headed of characters introducing himself, he realizes that perhaps if he lets them take each other out, he can possibly build his own salvation free of this endless debating. Which is left ambiguous when his young partner (played by Devin Bostick) offers up the only logical conclusion: that perhaps someday they'll be at war for completely new reasons. When you witness the final scene, it doesn't seem like a far gone conclusion.

Sadly, Romero breaks his own rules to offer up some camp value by showing moaning and groaning heads of the dead when he explicitly states constantly in his previous pictures that the dead will be brought down when their heads have been separated from their bodies. Meanwhile, I never sympathized a bit for the character Fransisco since he becomes such a blatant plot device by the second half of the story. Turning in to a zombie with enough convenience for the plot to roll along he sets in to motion Tomboy's inevitable kidnapping which ultimately brings forward the climax. Altogether it's a rather cheap dive from Romero to move forward the climax instead of allowing for natural plot progression and cheapens the ultimate believability of the character's actions.