None of this prevents Double Tap from scoring some laughs, though it has to work harder for fewer of them.
ZOMBIELAND MOVIE TIMES MOVIE
Finally, a Hollywood movie with the guts to take on the scourge of pacifism!
ZOMBIELAND MOVIE TIMES SERIES
She may be headed for a zombie-free commune, akin to the zombie-free amusement park from the end of the first movie, except that the writers take a series of sour, mystifying jabs at the idea of young people gathering together in peace.
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Then Little Rock separates from Wichita, and everyone sets out on a road trip to find her. Little Rock and Wichita separate from the group, just like they did in Zombieland. Instead of developing these ideas into comic situations, or thinking them through in creatively dramatic ways, the writers use them to hastily hit the same story beats Zombieland covered. (His gifts for her are guns, always guns.) Meanwhile, Wichita finds it hard to achieve domestic bliss with Columbus when they have to cling to domesticity in order to survive. And for that matter, neither does Tallahassee, who instead treats his surrogate daughter as both a little girl and a faithful zombie-killing sidekick. Little Rock has no access to friends her own age. In their quasi-familial tension, Double Tap comes across an interesting idea: because these characters must stick together in a world overrun by zombies, their social structures have been rearranged. Columbus, Wichita, Little Rock, and Tallahassee have maintained their makeshift, post-apocalyptic family unit, with Columbus and Wichita settling into a couple’s routine (or rut), and Tallahassee serving as an overbearing father figure to Little Rock.Īt the beginning of the movie, the quartet holes up in the White House, rummaging through presidential mementos. Beyond that inconvenience, and a half-baked idea of “evolving” zombies, the movie feels like it’s taking place about six months after Zombieland. It takes place 10 years after the original, which feels like a grudging necessity to account for Wichita’s sister Little Rock (Abigail Breslin) aging from childhood to adulthood. Zombieland: Double Tap downgrades the formula to sometimes funny, and not especially affecting.
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But for much of its running time, the movie is uncomfortably satisfied with recreating the dynamics of the funny, sometimes affecting, first film. The script (by Dave Callaham, Rhett Reese, and Paul Wernick) occasionally points out the film’s potential mustiness: Columbus (Jesse Eisenberg) narrates a direct thank-you to the audience upfront, acknowledging that viewers have “many choices in zombie entertainment.” Later, Wichita (Emma Stone) chides Tallahassee (Woody Harrelson) for reviving his old catchphrase (“Nut up or shut up,” for those with hazy memories of the original film).
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Given the endless (and mostly basic) references to both pop culture and the original Zombieland, it wouldn’t be out of character for Zombieland: Double Tap to lay out this sequel-as-zombie parallel itself. It’s more like an 1980s-style cheapie retread, disguised as a more respectable legacy sequel. As a decade-later follow-up to 2009’s irreverent horror-comedy Zombieland, it isn’t an entry in an active franchise. Zombieland: Double Tap occupies a similar space in the world of sequels. Putting aside the monstrous thirst for flesh, a zombie is essentially halfway between a living human and a rotting corpse, animated but staggering around without much grace, a desiccation disguised as a person.