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This wasnt always the case in Snyder Land.
It both amps up and dumbs down Romeros seminal apocalyptic tale.
And thats because Snyder, a commercial director moving brashly into cinema, came out swinging.
Theres also a certain video-game quality to how Snyder orchestrates this pre-credits doomsday crescendo.
What sticks out, again, is the gut-wrenchingspeed.
The athletic swiftness of the undead sets the pace of this opening descent into Hell on Earth.
Or maybe Snyder is matching the rate with which a virus of this nature would tear polite society apart.
The coup de grace is the credits sequence that follows this slam-bang cold open.
The apocalypse will be televised, the movie promises.
