Respond to these rapid questions in our Zombieland Double Tap quiz and we will tell you which Zombieland Double Tap character you are. Play it now.
The vast majority of sequels are pointless, but “Zombieland: Double Tap” stands out as particularly pointless, especially given that it comes out a decade after the first film.
A lot of fun was had by all in the first “Zombieland,” which was released in 2009 and featured an adorably bleak balance of gore and snark, as well as an upbeat, self-referential tone. A zombie film that was well aware that it was a zombie film, and it had a blast in every sense of the word messing with the tropes of the genre in which it was set. Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Breslin had a light and breezy chemistry on set, and their banter was quick and sharp. For everyone involved, including director Ruben Fleischer (“Venom”) and screenwriters Rhett Reese and Paul Wernick (the “Deadpool” franchise), the whole thing was a joke, a stepping stone on the road to future success.
Even though they’re all back (along with screenwriter Dave Callaham) ten years later, it’s difficult to see why they should bother returning to these hardened characters and scorched territory. More of the same, but also significantly less of it, can be found in “Zombieland: Double Tap.” The cast has grown in size, the carnage has become even more gruesome, and the comedy has become even more meta than before. In contrast, while some of the individual moments and action sequences are amusing, the overall project feels like an uninspired repeat of previous efforts. Callbacks to running gags from the first “Zombieland” generate little more than a few chuckles here and there, and the characters at the center of this new adventure haven’t progressed in any way that is meaningful or compelling.
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As a result of the constant threat to their lives, Tallahassee (Harrelson), Columbus (Eisenberg), Wichita (Stone), and Little Rock (Breslin) have formed a makeshift family dynamic to the best of their abilities. Tallahassee plays the role of the grumpy, politically incorrect father figure, while Columbus and Wichita play the roles of the playful lovebirds and Little Rock plays the role of the spunky and rebellious younger sister. They’ve taken over The White House (which is now surrounded by trash and weeds, as we see in a graphically violent, slo-mo slay fest set to the blaring tune of Metallica’s “Master of Puppets”) and transformed it into something akin to a frat house, complete with sporting equipment, Christmas lights, pop culture paraphernalia, and empty beer cans. (While the film’s laughs are inconsistent, the production design by Martin Whist—whose previous work includes “Bad Times at the El Royale”—is a consistent highlight.)
Zombieland Double Tap Quiz
Columbus once again uses wall-to-wall narration to explain the setting and the characters’ daily lives, often spelling out for us what we can already infer or see for ourselves in the first place. His survival rules appear in text on the screen—cardio, never trust bathrooms, enjoy the little things in life, and so on—but the device becomes tedious after a while. His frequent reminders that we’re watching him and his friends in a movie, with jokes about putting down your Milk Duds or experiencing “Zombieland Double Tap” in 4DX, serve the same purpose.
Also, you will find out which character are you in this Zombieland Double Tap quiz.
After a while, another female character appears in the form of Zoey Deutch’s dippy, blonde Madison, who has managed to stay alive the entire time by hiding in a Pinkberry freezer at the local shopping mall. As she lounges around in her Juicy Couture sweats and Von Dutch tank top dressed in bright pink velour, with her vocal fry punctuating the ends of her Valley Girl upspeak, Madison appears to be more of a one-joke idea than a real person. Nonetheless, Deutch is so irresistibly adorable and exudes such sunny guilelessness in this cold, bleak world that her mere presence is a welcome respite.
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Other newcomers to the cast aren’t given nearly as much of an opportunity to make an impact, including a sadly wasted Rosario Dawson, who plays the manager of an Elvis-themed motel near Graceland, which is a travesty. She’s tough and self-sufficient, but the potential romance between her and Harrelson’s character is barely hinted at in the film. The same can be said for Berkeley (Avan Jogia), a guitar-playing hippie with whom Little Rock has a brief but intense flirtation. And, while the meeting of Tallahassee and Columbus with their eerie doppelgängers Albuquerque (Luke Wilson) and Flagstaff (Thomas Middleditch) is a clever idea, it drags on for far too long before it is resolved properly.
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All of these normally appealing actors are trapped in a plot that is episodic and doesn’t gain much momentum over its course. A road trip with one big battle after another, involving zombies that have evolved and become more difficult to kill, is the basic premise of the game. Pop culture references and self-referential riffs can be found all over the place. Relationships are put to the test. It will come to an end eventually.
Make sure to remain seated during the closing credits, however, in order to avoid being disqualified: When Fleischer and company decided to revisit elements from the original “Zombieland,” they at least had the good sense to bring back the best one of them all.
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