Zombies are apart of a subgenre of horror that can be entirely predictable. The human focus, the virus spreading, the massive amounts of weaponry, and the overabundance of gore are all common expectations within any film that becomes apart of this flesh-eating genre. Ruben Fleischer’s “Zombieland” is no different, but like Edgar Wright’s “Shaun of the Dead,” “Zombieland” doesn’t exactly fit into the niche of the genre like you would expect. Instead, the film grasps the core essence of the genre and adds a humorous amount of normality with a young man being our narrator, as if this zombie-filled world is now something of comfort and expectation. With zombie kill of the week awards, rule lists, and makeup covered celebrities, everyone seems to have embraced this world that has been overtaken by the undead.
Its an unusual perspective on the narrative of zombies right? Add in the facet of a narrator like Colombus (Jesse Eisenberg), a germaphobe, anxiety polluted, and little spit f*$k of a man. He’s the one who fills us in on how the world has gone to shit; the mad cow turned mad person disease that causes you to have a high fever, induced vomiting, and an extreme case of the munchies. He gives us advice on how to survive as well with a long list of rules, but four core guidelines give you the best chance of survival.
Cardio, because the fat people were the first people to go when the world became a run for survival. Always double tap your attacker, because you don’t want to be that person who assumes you re-killed the undead flesh eater, only to learn that they’re now feasting on your corpse. Beware of bathrooms; zombies are not completely stupid; they know when your most vulnerable like in a bathroom with your pants down. And finally, always wear a seatbelt. You have enough things trying to kill you, so don’t be dumb and die because you got flung out of a car when attempting to escape from a group of cannibals.
These are the four rules that Colombus (Jesse Eisenberg) tells us to live by, but the list doesn’t stop there. It also includes guidelines such as limbering up, traveling light, and most importantly, don’t be a hero. These rules are challenged when Colombus (Jesse Eisenberg) runs into the ass-kicker known as Tallahassee (Woody Harrelson). (By the way, none of these names are real but are actually their destinations, because you can’t trust anyone anymore, so their names remain hidden) He’s a man that lost the only thing that kept him sane and now spends his life enjoying the little things and finding happiness by killing as much of these flesh-eating assholes as he can. He’s a gun loving, banjo playing, and hedge clipping killing machine that not only inspires Columbus (Jesse Eisenberg) but teaches him along the way.
Columbus (Jesse Eisenberg) has some lessons to teach Tallahassee (Woody Harrelson) as well though, meeting Wichita (Emma Stone) and Little Rock (Abigail Breslin). Two girls who even before “Zombieland,” have spent their time bamboozling guys with their looks and with emotions. Tricking both Columbus (Jesse Eisenberg), the man desperate for companionship, and Tallahassee (Woody Harrelson), the man desperate for a family, Wichita (Emma Stone) and Little Rock (Abigail Breslin) play these guys with ease, and take all of their weapons as well as Tallahassee’s (Woody Harrelson) Cadillac. From there, our story gets jolted into this exciting, slick, and fun-filled ride.
That’s not to say that genius screenwriters Rhett Reese & Paul Wernick don’t include the expected emotional struggles that would arrive with a world filled with zombies. Each character has their struggles, like Wichita (Emma Stone) just trying to allow her little sister to feel like a kid again, or Columbus (Jesse Eisenberg) just wanting to be that nice guy turned hero for one lucky girl. There is plenty of emotion included in the screenplay, but never enough that it overshadows our witty comedy, which is the genius of Rhett Reese & Paul Wernick’s work in “Zombieland.”
Ruben Fleischer provides a lense to the story, which is not his shining point as the director of “Zombieland.” The way he directs these actors is where Fleischer stands out, his ability to give these stars a sense of correlating direction. Driving Jesse Eisenberg to use that quirkiness he's known for to formulate a character that only he could depict, and giving Woody Harrelson this self-proclaimed badass who's actually a man trying to run away from his past. Add in the brilliance of a kid stuck in “Zombieland” in that of Abigail Breslin, and a big sister like Emma Stone trying to let her little sister feel like a kid once more, and you'll find a cast deserving of a sequel. This is where comedy directors shine, rarely is it the visual language that evokes the brilliance of a comedic filmmaker, but the way he’s able to direct his actors is where the best of em’ stand out.
Ruben Fleischer displays that ability with “Zombieland,” a film that reminds us of our own ability to adapt. When things go wrong, even as wrong as zombies eating their way to our extinction, we continue to find a way to live with it all. Whether it's traveling to theme parks, invading celebrities million dollar homes, finding ways to make killing fun, or even making up a bunch of rules to keep us feeling safe. We can find a new home, a new family, and a new way of life. It’s one of our best qualities as human beings and one that “Zombieland” weaponizes into this comedic awesomeness of a zombie movie.