Abigail Breslin

Zombieland: Double Tap

27/10/19

It’s hard to believe that ten years have passed since the first Zombieland film – and, while the original came as a breath of fresh air amidst the unseemly scramble of leaden undead movies that hit the screens around that time, it’s probably fair to say that there weren’t too many punters desperate to see a sequel. But you have to take your hat off to director Ruben Fleischer, who not only persuaded somebody to finance this, but also got the four lead players to reprise their roles.

A decade has passed for the quartet of survivors too, who – when we first encounter them – are moving into their new headquarters: the White House. Columbus (Jesse Eisenberg) and Witchita (Emma Stone) are now a couple, while Tallahassee (Woody Harrelson) has taken on a fatherly role towards Little Rock (Abgail Breslin). But LR’s at a difficult age, starting to long for a little ‘me time’ and, when Columbus rashly proposes marriage to Wichita, she too feels a little hemmed in. So the two women hit the road, looking for new horizons.

Complications occur when LR encounters a wandering hippie (Avan Joggia) with a guitar and a repetoire of popular rock songs, which he claims to have written. She falls promptly under his spell and runs off with him to a hippie community where weapons are banned, dumping Wichita in the process. Wichita returns to the two men but, in her absence, Columbus has hooked up with Madison (Zoey Deutch), an airheaded valley girl, who has improbably managed to stay alive (and meticulously clean) in the midst of all the carnage. Despite the awkward situation, the four of them head out on LR’s trail.

Double Tap is undoubtedly fun – a silly, good-natured addition to what went before – but, like so many sequels, it struggles to add anything new to the mix. Here, there’s an attempt to suggest that the zombies are evolving from the simple shuffling ‘Homers’ of the original story to ‘T-800s,’ leaner, meaner and harder to kill – and there’s a loosely knit story arc about the importance of family – but, ultimately, that’s not really enough to justify this as a film in its own right. And some of the internal logic of the tale really doesn’t stand up to scrutiny.

The laughs come easily enough and there are sly references to things that occurred in episode one. The cartoon violence is unashamedly visceral (unleash these levels of slaughter at human victims and that 15 rating might need to be raised a notch) and there’s an interesting new character in the shape of Rosario Dawson, as a woman with a major Elvis Presley fixation.

So yes, it’s no hardship to watch – but it isn’t destined to linger very long in the memory.

3.6 stars

Philip Caveney

Maggie

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24/07/15

– How about a zombie film? Starring Alpha-Republican-hardman Arnold Schwarzenegger, you say.

– Nah, I say. I think I’ll pass. I mean, I do quite like stories of the living dead, but I really can’t be doing with all that boring Mr Macho stuff.

– Go on, you say; it might be good. It’s been plucked from Hollywood’s infamous ‘Black List’ of unproduced scripts and championed by Schwarzenegger himself.

– And that’s supposed to make it better?

– Well, we haven’t got anything else planned for the evening.

And, you know I’m a sucker for the whole cinematic experience, even if I’m not so keen on the movie, so yeah, why not? And off we go.

And, oh, but am I glad we did.

Maggie is a zombie movie unlike any I have ever seen. John A Scott III’s debut screenplay is slow and tender, warm and sad. There’s only minimal lurching and wounding, and the bullets put through the zombies’ heads are shot reluctantly and with compassion. Maggie (Abigail Breslin) is a wayward teen, who, having run off to explore the bright lights of the big city, calls home to ask her father (Schwarzenegger) for help. She has been infected and is in quarantine.

This particular dystopia is more humane than most. Infected people are assessed and then allowed home to live out the remainder of their ‘human’ days. When the time comes, they are supposed to return to quarantine, where they will be dispatched via lethal injection. Police patrols have lists of those on furlough, and round up those whose families struggle to give them up. The focus then is not on survival; it’s not about encountering the slavering hoards and protecting what you have from others who want in. Instead, this is the story of a family learning to let go.

There’s not much in the way of backstory or character development – and I think that’s to the film’s credit. Maggie’s likes and dislikes, dreams and fears are just not that important now. She and her family are living in the present, dealing with the day-to-day. We are trusted to engage with their predicament on this human level; the fripperies we use to label and identify are stripped away and we are left with just the basics: love and empathy and muddling-through. I thought it was wonderful. Even the dragged-out ending (Now? No. Now? Not yet. Now?) served to underline the hardship: how do we know when the time is right; when are we ever ready to accept a loved one’s death?

So this is a zombie movie, yes, but it’s also unlikely to appeal to those in search of frights and thrills. It’s more of an allegory, really, for the way we deal with disease and disaster. (And yes, I know that zombie movies are usually allegorical to some degree, but this is one more so. It’s Allegory Plus.)

It’s definitely worth watching.

4 stars

Susan Singfield