Zombieland

The first part had exactly the amount of rawness and blood that I had been longing for – it parodies the aesthetics of teenage horror and comedy, peppers one-liners one after another and culminates with a famous cameo by Bill Murray, which is destined to be a cult cameo. Unfortunately, any and all invention is lost thereafter and Zombieland starts to lose its way and the banal finale cannot improve on the lost tempo. Suddenly, what was parodied before is now part of the film, as well as awkwardness and implausibility. We also have the fat redneck Harrelson, who saves the ship from completely hitting the rocks and sinking. Partial elements of Zombieland are amongst the great representatives of horror comedy, but it's too bad that Fleischer et al. were unable to connect them into a meaningful whole. In fact, it’s too bad that they even tried. Because they deserve a smack on the head for the family ending. (11/19/2009)

I avoided Zombieland at the time of its release in movie theaters, as I didn't expect any miracles and after watching it, that feeling was confirmed down to the last detail. It is good to compare this film to the British film Shaun of the Dead. After all, they are both in the same genre and thematically about the same thing. From this comparison, it's clear why American cinema so successfully crushes its competitors. It has perfectly mastered marketing and can sell even average products as exclusive matters. Although Shaun of the Dead is a much more mature and clever spectacle, both films have the same rating scores and Zombieland easily leads in terms of viewers. All in all, it is an average affair and one of the numerous cases where the functional content is contained in the trailer and a substantial part of the film is filled with mere filler. The first ten minutes are fine, setting a decent pace and outlining the rules by which the main hero operates in his desire to survive the rampage of zombies. Then the film falls into routine, occasionally interrupted by a good gag, such as the destruction of a bloodthirsty zombie with a piano or Bill Murray's role with his undignified end. The film also shows an obvious effort to sell it to a teenage audience as the target group, so besides the horror parody, it also uses elements of a teenage comedy. Fleischer's film has tremendous untapped potential, as the subject matter allowed for countless gags and comedic situations. Overall impression: 50%. (04/17/2010)

Because it lacks a more robust framework, Zombieland starts and ends out of nowhere. But the characters are likeable and well directed, and the movie uses some very effective slow-motion shots. This is a pleasant chill-out movie, but Snyder’s Dawn of the Dead was bolder and more brutal, which pays off in the zombie sub-genre. (12/14/2009)

(Don't Fear) The Reaper, baby. Unfortunately I was right when I said to myself after seeing the opening credits that nothing better could possibly follow. Zombieland is a movie where its greatest blessing is also its greatest affliction. Woody Harrelson is unarguably outstanding and pulls the whole movie along, but even so the role should have been given to somebody with cult status gained by hard work in countless B-movies. Yes, somebody like Bruce Campbell would be more suitable. And everything in Zombielandis like. What you find here is good and entertaining, but you can also see clearly how much better and more rounded it could of been... P.S.: It was really nice to see the nod to Deliverance. (11/30/2009)

Likeable main protagonists, a ton of laughs and eye-candy slow motion splattering blood. What more could one ask for? Woody Harrelson is awesome and Jesse Eisenberg was a very pleasant surprise. The zombies here aren’t spooky, so no horror, but maybe comedy of the year. You must learn to appreciate the simple things in life. (11/30/2009)