Zombieland: Double tap review

This may come as no surprise to the people who watch movies, but it seems that two things have become apart of the culture at large. Zombies and Marvel. The Walking Dead has been on for more than five seasons, and I couldn’t even make it through the first. The first episode by Frank Darabont was good, but after that it felt staged, like a soap opera. All they needed was some more hammy lines and it was a soap opera. But one film came out a year before Walking Dead, which was Zombieland.

It introduced Jesse Eisenberg, Emma Stone, and Abigail Breslin, leading with Woody Harrelson, a veteran film actor with so many films it would take up an entire page to list them. Since then, all the supporting cast have been in major Hollywood hits, and have led an interesting path. But on October 19th, it all came back to the film that put Zombie films into the forefront. Walking Dead came out a year later. Trends always come and go. While Marvel had the super hero films locked down, and came to a crash with Endgame, Zombieland: Double tap gives such a promising idea that the stale zombie genre has met its match. The chemistry in Double tap has only since seemed to deepen all the stars status as legends in their craft. Woody Harrelson is the man we all want on a zombie hunt, and there are moments when I was generally afraid for all the characters.

The laughs always helped but this time, it seemed like they were going something further without ever having to reach outside their means. The film seems centralized and focus, over what many would say is disorganized, but the acting and the writing is so organic that it makes Walking Dead look like a period piece or Downtown Abbey in comparison. The pacing seems so compact and tight that you never feel like you are wasting time. What Zombieland did in the run time of an hour and 40 minutes most Marvel films could never do in their ten year career. This film, by it’s own right, was a cult film, but it gave such a presence to the stars that a sequel had to be in the works.

The problem is: nothing. This movie is just as perfect follow up as Godfather 2 was to Godfather. It makes fun of the zombie genre, while never feeling like it should take enormous risks, and it does. The jokes always landed, while it contained a grain of truth to it. There is such a genuine pleasure when watching a movie that you can see what can happen, but then expect a curve ball. The fight scenes between the zombies and the main characters felt like it was within the best context of the film, and it didn’t seem like it was ripping off any other movies. While it did shamelessly call the higher zombies the T-800, comedy has always been known to steal from most other forms of entertainment. The dialogue between the copycat versions of the characters is making fun of the way people rip off of things, but also, it means if they are ripping from themselves, which is a good thing. Comedy also allows criticism even when it’s aimed at the material itself.

Somehow, I didn’t mind it, because that’s a form of flattery in comedy, when you can call something that doesn’t belong to your idea, your own. Comedy is a form that holds hands with many other movies, but it seems that while Walking Dead has outlived its days, Double tap gives the genre a well-meaning kick to the dick. The mere caution of those who have outlived their creative days, doesn’t feel this way in Zombieland: Double tap. It makes it all personal, which makes the wait for the movie worth it. All of it seems more fresh than the years that have come since then. You could take your pick on Netflix, but it would seem like too much work. If the genre would die, maybe it seems like Zombieland: Double tap is the Rambo 2 we need right now in a world of PC bullshit propaganda funneled through the Hollywood system.

How many times do we have to sit through Walking Dead when the story was dying around the season when the cast were holed up in a prison. The staleness was there and it wasn’t the zombie breath. As someone who cares about visual media, much of it hasn’t been impressive to me in the last ten years. As far as high art goes, Birdman, Hacksaw Ridge, and The Revenant feel more in touch with the reality of what the culture wants. And Zombieland: Double tap seemed to finally wake up the dead, and even so, it made this reviewer know that stories can be told if they are cared for and the intentions of the characters are not betrayed by corporate shills who don’t give a damn about entertainment.

Yes, other than Alita: Battle Angel, Joker, Once Upon a Time in Hollwood, Zombieland: Double tap, all are number one movies so far. Those are the movies you should see instead of what the media will tell you what to see. But also, they are entertaining. That’s why we see films. If there is propaganda in it, you better give me a hand job in return.

 

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