The Great Wall
Unlike any American blockbuster you've seen, a conservative movie with action set pieces that are actually inventive and thrilling enough to be worthwhile.
Zombies are a great convenience. They provide villains who are colorful and frightening, require no dialogue, motivation or explanation, and yet function efficiently as a negation of all that is good. Just the very word "zombie" can persuade people to buy tickets for a movie, and "sex" hasn't done that in years. At the risk of using the word MacGuffin twice in the same week — well, that's what zombies are, aren't they?
Humans are survivors in an undead world that has gone horribly wrong, where all the good times are past and gone. That's what our modern world feels like to me sometimes; the morning news is filled with more ominous portents than the opening montage of a disaster movie. When Japan is torn by earthquakes and airports are attacked by tornadoes and the economy is melting and radiation is leaking and honey bees are dying, obviously the zombies are only waiting for the globe to warm a little more.
One advantage of zombie movies and indeed, all monster and horror movies, is that they provide a port of entry for new filmmakers. The genre itself is the star. I don't like to say this about David Arquette, who is a jolly nice guy, but I doubt many people went to "Scre4m" to see him; they wanted to see the slasher in the mask.
That said, there are substantial qualities in "Stake Land," a movie that probably uses zombies as little as it can get away with. Considering that the dialogue calls them "vamps" for short, they're apparently some kind of zombie/vampire hybrid, previously unidentified by Horror Science. The Dead have merged with the Undead. You see what spraying with insecticides can lead to.