nourishing obscurity

Spiegel sagt:

Wenn Untote die Welt erobern, ist das nicht das Ende aller Tage. Im Gegenteil: Man muss nicht mehr ins Büro und hat Zeit für Monsterhatz und Fluchtauto fahren. Ein Riesenspaß, wie die anarchisch-verspielte Horrorkomödie “Zombieland” beweist.

Total Film says:

Whether set in a sleepy London suburb or a subterranean missile silo, most zombie films shuffle to life at the unhurried pace of the undead. Not this one. Sprinting from the starting blocks, Ruben Fleischer’s debut wittily dispenses with the apocalypse during its credit sequence, a virtuoso corpse-flinging montage of brains, bras and windshields exploding in glorious slow-mo.

We then speed-date scaredy-cat survivor Columbus (Adventureland’s Jesse Eisenberg) who’s managed to avoid becoming a “human Happy Meal” by following rules that storm the screen as captions.

Roger Ebert asks the eternal question about zombies for a very good reason:

What’s their purpose? Why do they always look so bad? Can there be a zombie with good skin? How can they be smart enough to determine that you’re food and so dumb they don’t perceive you’re about to blast them? I ask these questions only because I need a few more words for this review.

Finally, you’re warned that looking at this linked zombie pic could result in severe anguish and mental trauma.

Filed under: Politics & economics