Woody Harrelson riding a roller coaster with a pump-action shotgun, blasting holes in zombies. That is the chief takeaway image from Zombieland. He was probably shouting lines like “Get Some,” too, but who could hear over the laughs and applause?
How could a movie’s plot contort itself so that such a sequence could ever make sense? Not very delicately, as it happens, but show me anyone who gripes too loudly about Zombieland’s strained plot devices or fuzzy motivating factors and I’ll find you someone incapable of having a good time.
After a marvelous “day one” opening title sequence (one the best short films I’ve seen this year) we skip ahead a stretch to meet Jesse Eisenberg, the unlikely survivalist at the heart of our story. Our slight, neurasthenic hero has lasted this long due to a sturdy list of rules he lives by. They include such sensible horror movie tactics as checking the back seat of any car before sitting in the front, spending an extra close-range bullet to make doubly sure a target is down and, as much as possible, avoiding bathrooms.
The presentation of Eisenberg’s “rules” is one of the nicer cinematic nuances of the film, appearing in three dimensional, interactive text alongside the subjects of the frame. It is fun and clever and bound to be copied endlessly.
As Eisenberg treks homeward (he was away at college when the zombie’s hit) he encounters Woody Harrelson in full “Yosemite Sam” mode. While the plot doesn’t really escalate any, the movie sure takes off.
Eisenberg and Harrelson make a fine post-apocalyptic Hope and Crosby, zinging their way through set pieces of undead destruction. They bash their way from scene to scene with honest-to-God Hollywood “it factor” magic.
It isn’t long until they meet their match in the sharp-witted Abigail Breslin and very tight jeans-wearing Emma Stone.
After a number of power reversals, the four learn they are stronger together and, I dunno, sail off into the sunset or something. The story isn’t exactly this picture’s strong point. And Lord knows how those ladies thought they’d escape a pack of zombies by strapping themselves into a very visible, very fixed-location parachute-type ride. (Though it does look cool to kick some of them off from great heights.)
I may sound a little flip about Zombieland and, frankly, I don’t think the filmmakers would have a problem with it. It’s a movie where a man’s central, motivating quest is hunting down a Hostess’ Twinkie (oh, did I leave that part out?) and, much like that object, it is sweet, airy, professionally made and pleasantly unremarkable.
Zombieland is a solid night out at the movies, wisely focusing on the comic performances (no one stutters like Eisenberg – not even Michael Cera) and good natured charm of its characters.
