Their first encounter with one toasted marshmallow zombie at a blazing car wreck leaves them shaken and minus one Christian driver, Mary (Tatiana Maslany), who attempts suicide out of guilt thinking she has run over survivors at the accident scene. Her friends rush her to a desolate hospital. Jason has to plug in when his camera battery starts dying, so he stubbornly stays behind when they go in search of help. Without his camera, Jason is sightless and helpless, and with his camera he isn't much help. Left alone with the dying Mary, who could become a zombie any moment, Jason's nerves begin firing big time.

Other clues to Romero's mastery of the genre are found in how his zombies effortlessly move in and out of our attention, and his fluid building of suspense and uncertainty through use of silence and ominous distant sounds heard in desolate rooms, through open doors, and down empty hallways. There is also a little pause his zombies take whenever confronting the living. Is it confusion or, maybe, just the short time it takes for them to recognize a new food source? Whichever, it is quickly replaced with an eagerness to chow-down, and here Romero accentuates horror with gore, not to disgust but to terrify. Skirmishes with zombies in the hospital bring home the fact that it is really happening, with a defibrillator put to eye-popping good use for added measure. Shooting zombies in the head, while necessary, can become boring to watch after awhile, so judicious use of bow and arrow--and broadsword--can be quite bracing when used to dispatch an errant zombie or two, or just in two where the broadsword is concerned. Of course Professor Maxwell, being an erudite sort of dude, proves adept at wielding both. 

Jason's girlfriend Debra is adept at getting what she wants, and what she wants is to go home to her family. Along the way, their journey is interrupted by a broken-down Winnebago and a run-in with a newly formed militia stockpiling weapons and supplies. Samuel, an Amish farmer, provides temporary humor and sanctuary as they work on the Winnebago. Fresh air loving zombies begin surrounding the barn, however, so they must make haste in their escape.Their encounter with the militia affords Jason the opportunity to upload his recording to YouTube, and for them to stock up on weapons and food. It also gives Romero the opportunity for a 1970's-styled dig at the civil rights movement (or lack of movement) and illustrating another nifty--CGI--way to dispatch a zombie in their midst through a industrial solvent-induced dissolving brain.

Romero intersperses mass media footage of calamities, some of it stock footage taken from actual news stories, throughout the ordeal, implying that just because you can show it, it doesn't mean you can control it. Other YouTube uploads show the crisis reaching worldwide, with authorities overwhelmed and powerless to stop it. Unlike the 1950's B-movie military or scientific community, today's authority figures in horror movies are depicted as ineffective and helpless when faced with catastrophe, even given to manipulating the truth when it suits them. A fanciful notion to be sure, but an effective one. Lucky for us that never happens in real life.