Zombieland: Double Tap [2019]

“Welcome to Zombieland. Back for seconds? After all this time? Well, what can I say, but thank you. You have a lot of choices when it comes to zombie entertainment, and we appreciate you picking us.”


What? Third sci-fi film in one weekend? It must be christmas! Well, it’s not. It’s… well it’s October. But it’s a damn good weekend!

So this film is the second Zombieland instalment, the first having come out in 2009, and it was WORTH THE WAIT. For those who don’t know, this is a dystopian “post-apocalyptic zombie comedy film” following four equally unlikable yet endearing people who have lost everything after zombies happened, but they found each other. Awwwwww.

This sequel steps back into their lives now that everything is in their stride as far as survival goes but like a lot of us do when things are going too perfectly, self-sabotage begins to take hold and they each seek excitement, wanderlust or a sense of home. With predictable but hilarious consequences!

Though I didn’t think this was quite as excellent or amusing as the first Zombieland, you can’t really go wrong watching it. I found it entertaining, I loved the cameos from some special stars. Because it’s a comedy, it doesn’t allow you to get too dark like a lot of zombie films tend to do, i.e. where the storyline kills off a major character who you love. It never really challenges you, it’s never going to win any serious awards but it is a fun edition to the chain!

Really enjoyed it.

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Anon [2018]

“We have to believe our eyes, or the system doesn’t work.”


What struck me about this film very early on was how film noir it was (or at least, neo noir). It has all the major tropes of a noir film… the stylish monochrome, oppressive city landscapes, offcentre camera placements and angles/shadows, the misanthrope detective, a murder investigation, suspense, femme fetale, smoky cigarettes, revolvers and this intentional feeling of alienation for the main character as his story unfolds.

Everything has this bleak feeling in the film, which is quite fitting given the subject matter, i.e. a question that the film poses about technology, privacy and intrusiveness. They ask this question a number of times in a number of ways: “They say it’s for our safety… Why don’t I feel safe?” This hopelessness is a reflection of today’s feelings towards our own technology. It’s making our life easier, but at what cost? Are we actually happier for it? Is it worth it? (let me work it, I put my thing down flip it and reverse it….)

I really enjoyed the subject matter. Shows like Black Mirror ask the same sorts of questions about technology so it’s on everyone’s minds at the moment.

What I feel missed the mark is that a lot of (neo) noir films have their misanthrope hint to a troubled past to literally add to the mystery. If it’s subtle it preserves the mysteriousness of the character. However, in this film all the cards were laid bare regarding his past. Perhaps this was because of the surveillance element of the film, but it needn’t have been so. I didn’t need to see through his mind’s eye to know he was troubled. Just like some interactions didn’t need to develop the way they did to create tension and drama. It felt like if a little bit had been preserved, it would have given the film a lot more.

All in all, entertaining but quite a listless film that missed the mark a little for me and was just a little too predictable but in all the wrong sort of ways.

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