I feel like dancing. To see Arnold Schwarzenegger -- one of my boyhood heroes -- embrace the dramatic side has caused me to re-evaluate his skillset. Quite simply, there are moments in Maggie which rank alongside the most transcendent in his career.

He kills it as Wade Vogel, a father desperate to save his daughter Maggie (Abigail Breslin). The latter carries a deadly contagion in her blood from a Zombie bite.

Never less than magnificent, Schwarzenegger conveys true parental concern while facing situations where the villain (a disease) robs people of their humanity. Victims are reduced to wheezing, sickly complexions, and they no longer bear the emotional nor psychological burdens of morality. As such, these creatures become manifestations of plague-ridden paranoia.

I give credit to director Henry Hobson who, along with writer John Scott 3, refrains from gory outbursts. Even the most spectacular confrontation exhibits artistic compromise. Therefore, Hobson respects his audience by avoiding clichés.

Breslin, a bright and confident actress, demonstrates her loss of identity as a painful transition. The change appears to be gradual, yet one act of self-preservation plays out in the most meaningful way.

Although it's doubtful whether David Wingo's soundtrack will stir much interest outside the film, he contributes a wonderfully downbeat style. For instance, the violin and piano carry the weight of Maggie's struggle effortlessly.

Despite the demonic subtext, Maggie holds little in common with End of Days, another horror movie starring Schwarzenegger. The latter was straight-up blockbuster material, amplified by a good versus evil chaser. By contrast, Maggie takes the less obvious route. Because Hobson internalises the evil-making, it makes the story feel less about monsters.

I believe Schwarzenegger could explore such potential even further. Although his work has consistently entertained over the years, it's a welcome switch.

Overall, I cannot account for my conversion to the horror genre. With It Follows, Devil’s Pass and the meticulous Maggie, this could become a place where my expectations feel right at home.

(Released by Roadside Attractions and Lionsgate; rated “PG-13” for thematic material including boody images, and some language.)