There's no restraint in the live action affairs that have been fully produced. Cramming too much material, diverging too heavily from Canon, and possibly the worst sin, misusing elements of the series.
Why is there an Executioner Majini anywhere near the same story that has Zombies and Cerberus? Why introduce franchise OGs only to write their characters as completely incongruous with established depictions as possible? Why take the basic premise and try and maneuver it all? To be "more cinematic," ?
It's endemic to a lot of the failings of contemporary passive horror media in general, though, and to a lesser degree, parallel to some of the rot infesting the interactive horror media, as well. To the first point, everything is made nowadays to cater to the diminished attention spans of youth. Scare chords, jump scares, a need for excessive violence without earning it with tension or buildup. It's the same reason you have absolute fucking helmets saying The Exorcist (OG) was too slow or boring.
To my second point, interactive horror, at least pop culture relevant interactive horror - has gone down one of two diverging paths. The first path is to equate tension with horror or fear, and as much as I adore it, I'm putting the blame squarely on RE4 OG for this one. It's the caveman answer to the equation: If one slow zombro is t3h yikes, then what bout seven fast zombinos?! The second path is the restrained, classy man's solution: To use horror as a setting and vehicle to tell a story that's not actually about horror at all, a la TLOU2.
Sometimes Occam's Razor should be applied preemptively. On the topic of Romero, Night of the Living Dead had about .5% of the staff and crew behind it as the latest Ubisoft game. All those sensitivity and HR and writers and animators, a literal BUSINESS that has employees with the specific job description of collecting analytics to make a bullet proof successful commercial experience - their efforts are peanuts compared to a grassroots film project in terms of creating a believable universe, with a compelling hurdle for a group of interesting, dynamic (and diverse!) characters to solve, all taking place in essentially one set piece.
^THESE are the things that should make the blueprint for heavy hitters in the horror genre. A production that stands the test of time and actually uses it's own medium cleverly to convey both in-world storylines and real life allegory. As a final note, I think the ending to NotLD is much more substantial commentary than a million flags or murals in the latest Spiderman is.