Ruben Fleischer’s zombie comedy ‘Zombieland’ (2009) provides us with an apocalyptic vision of America, one now overrun by zombies. Streets have become abandoned in the wake of the ghoulish takeover, whilst humans have become the extreme minority, the target of food for the un-dead. Packed with cheese, laughs and plenty of gore, Fleisher never, ever fails to entertain his audience. Fleischer’s film, without doubt, is 80-odd minutes of well-delivered entertainment.
Fleisher should be commended on his cast, which varies in its age and look. Jesse Eisenberg as Columbus is sentimental and warm. Even though he plays the young, neurotic antihero plagued by ‘phobias’, his shy, weakling tendencies are hilarious when juxtaposed with the gritty heroism of Tallahassee (Woody Harrelson). What makes Columbus even more likable is his soft voice over. It is used to guide viewers through the narrative, whilst educating them on ways to combat zombies (which gives the film a video game aesthetic of sorts). His warmth works extremely well, since it keeps the audiences engaged and sympathetic at all times. Harrelson as Tallahassee – the hyper-masculine, Twinkie-obsessed Zombie slayer – is equally impressive, a standout performance. His constant wavering between brooding intensity and sheer stupidity works a treat; Harrison’s timing never fails. Then, there is Emma Stone as Wichita: quiet and brooding, but gorgeous and scheming. Her young sidekick, Little Rock (well played by Abigail Breslin) is also equally capable of con artistry. Breslin is good in her assisting role to Stone, who also amusingly antagonises and eventually befriends the two boys. The female duo does not pack the same punch as the male duo. Then again, the onus of the film rests on the male protagonists, making heavy, critical comparisons between the two pairs a little difficult. On a final note, Bill Murray’s cameo is absolutely hilarious. I cannot remember openly laughing as hard in a cinema as I did at his very appearance in the film. His deadpan, self-reflexive commentary is always hysterical.
In an era where apocalyptic visions and theories of the world continue to obsess sci-fi junkies and conspiracy theorists – post-2000 – Fleischer’s narrative lampoons the seriousness that stems from such pop cultural preoccupations, much like Edgar Wright’s British feature ‘Shaun of the Dead’ (2004). Fleisher’s flick is a fun, tongue-in-cheek approach to the zombie film genre, a short burst of comical energy.
(4/5)
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