Henry Hobson, a former main title design director on The Walking Dead, probably understands more than most that the zombie scenario has long reached critical mass—that most zombie stories are all the same: they come, we get the fuck out. In between there's much biting and dying, but the living almost always run toward wherever, whoever, promises them another day. In Maggie, though, people stay put. The film begins with a farmer, Wade (Arnold Schwarzenegger), picking up his daughter, Maggie (Abigail Breslin), from a hospital, where she was taken after being bitten on the arm. Dead but not yet zombified, she rides shotgun on the way back home, picking at her wound as if it were nothing out of the ordinary. At the farm, she says goodbye to her two half-brothers, who—just in case—are carted away to an aunt's house, while Wade and Maggie's stepmother, Caroline (Joely Richardson), wait for her to turn. And wait. And wait. At least, then, in its prioritizing of the girl's drifting toward the unknown known, and in her parents' coping with its inevitability, the film reveals itself as its own band apart.