A trade-off occurs when filmmakers attempt to go against the grain, particularly in genre movies: if the twist or approach is done well enough, or is genuinely effective, they are hailed as visionary (or are at least quietly applauded for accomplishing something faintly original); but if the approach roundly disappoints the rabid fans of the genre in question, the new film is reviled.  Both extremes apply to the new zombie film Maggie.

Henry Hobson’s film is designed as a quiet, introspective drama about a rural family whose eldest daughter (Abigail Breslin) is infected after running away.  She returns home in the care of her father (Arnold Schwarzenegger), who is told that when the infection turns, she will need to be quarantined, and likely killed.  But the father protects his daughter, refusing to quarantine her, hoping until the last that her fate will be different.

This is a film about family, and trust.  With another actor in the lead it might well be more effective.  Because Arnold Schwarzenegger portrays the father, the audience expects that some serious zombie butt-kicking will take place.  This does not occur. Schwarzenegger delivers a sensitive performance, restrained and effective, but he does seem miscast.  The film’s casting works against its small scope and tight focus even as it tries to redefine the zombie genre in realistic terms.  It is undeniably artsy and occasionally boring, too.

Maggie is an interesting attempt at something different, given commercial cachet by its cast of stars Schwarzenegger and Breslin.  Unfortunately it just isn’t enough to redefine the genre, or at least make this an intriguing variant.  The vague ending doesn’t help matters, although at least the tension just before the ending is palpable. It seems like a story that needed a bit more work before it went in front of the cameras.  ☆ ☆.