By Megan Bianco
As is sometimes the case with sequels, Zombieland: Double Tap has just as much going for it as it does against it. The original leads are back, the writers and director are back, and new characters played by famous faces are introduced.
But of course, the quality and success all comes down to how much the movie team legitimately wants to continue their characters’ narrative, and how much the movie studio just wants to cash in on a popular title. This usually depends on the script. And with the second visit to Zombieland, there’s a mixed assortment.
A whole decade has passed since we last saw Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone) and Little Rock (Abigail Breslin). In the film’s universe, they are probably the tightest, most badass group of zombie killers in the future dystopian United States. But while they’re kicking butt everywhere they roam, things aren’t going so great in private.
Little Rock is sick of being treated like a child and feeling rebellious, and Columbus and Wichita have different ideas on where their relationship should progress to. Zoey Deutch, Avan Jogia, Luke Wilson, Thomas Middleditch and Rosario Dawson make up the new actors who the foursome run into throughout the movie.
Double Tap is one of those sequels that doesn’t really need to exist. The original gory action flick from 2009 ended on a good note, and the more time went on, the less demand for one felt necessary. Especially since the writing team behind the Zombieland film gave us Deadpool (2016)—which also has a pretty pointless sequel. It’s the same brand of flashy fight choreography with zombies in between jokes and pop culture references, but in 2019.
And yet…I didn’t mind. I found I still liked the four main characters as much as I did ten years ago. Eisenberg and Stone still have a unique charm to their on-screen chemistry and I laughed quite a bit during the 95 minute run time. Deutch-isn’t exactly a revelation here and borderline obnoxious, but still somehow manages to put a memorable spin on what’s essentially an old trope.
For a movie trying to market off a horror subgenre that peaked six years ago, it could’ve been a lot worse.
Megan Bianco is a Southern California-based movie reviewer and content writer with a degree from California State University Northridge.
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