Zombieland Double Tap 4K 2019 Ultra HD 2160p

Zombieland Double Tap 4K - The adventures of the four main characters of the horror comedy "Welcome to Zombieland" did not end. A zombie apocalypse is still hanging over the world, and they are sent inland. There they are waiting for battles with modified species of the living dead, as well as meetings with other survivors. True, both of them are equally unfriendly. In addition, the heroes have to settle their own interpersonal contradictions.

Zombieland Double Tap 4K Review
Four brave survivors with geographical locations instead of names - Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone) and Little Rock (Abigail Breslin) - make their way through hordes of zombies to the White House, where they arrange their home. But over time, routine boredom takes over security, relationships escalate, and Wichita and Little Rock once again treacherously escape. Wichita, however, returns almost immediately: trained to not become attached to anyone (even to her older sister) Little Rock, in turn, fled from her. I drove into the sunset with a hairy hippar traveling with a guitar instead of a good old double-barreled shotgun. They go to semi-mythical Babylon, supposedly a safe place where everyone is friends and love each other. The team sets off to save Little Rock from this pacifist paradise.

In the ten years since the release of the first Zombieland, much has changed in the industry: the zombie fashion has flared up and gone (now they are remembered only by indie old men like Jarmusch or non-conformists like Bonello), the genre of pure comedy has almost completely gone to TV (“Damn woke-culture!” Cries somewhere Todd Phillips), the despotism of the sequels finally eats all baldness, and director Ruben Fleischer completely lost his credibility. After “Zombieland” he did not make exactly one decent movie, and his return to the revisionist zombie jolly looked like a child’s attempt to hide “in a house”, return to his post-apocalyptic street in three houses, where everything is simple and familiar, for a day. As well as for the scriptwriters Rhett Reese and Paul Wernick, judging by Deadpool 2, who had a bit of writing and already, by the way, made an unsuccessful attempt to turn Zombieland into a franchise (in 2013, the pilot of the series came out about which everything was safe managed to forget).

This is a sequel that no one really asked for, in a franchise, from which no one expected anything - and in another case, such a situation would easily lead to a creative and, of course, commercial failure. But not in the case of the second "Zombieland" - a film that revels in the secondary and flourishes in its optionality. It not only follows all the characteristics of the surface sequel that it was so talented in the second Macho and Nerd, but it seems that it deliberately hypertrophies them. Yes, the local plot is an almost exact repetition of the first film, many heroes re-build the same relationship, and Columbus also sharpens the scenes, turning the film from narrative cinema into, in fact, an illustrated stand-up with all the format-specific retardations and lyrical digressions.

And everything seems to be the same, but higher, stronger and more. Moreover, in a direct arithmetic sense: instead of one romantic interest, Columbus, for example, now has two, the number of love lines as a whole doubled, twice as many jokes and all kinds of cultural references. And even the original title of the sequel, Double Shot, emphasizes this “duality” and, as it were, laughs at it. A “control shot” - such as “Kingsman: The Golden Ring” - exploits the very nature of the sequel as a product that was originally secondary and locked into specific plot frames.

He doesn’t try to keep up with the times, on the contrary, he sticks out his old-fashioned way, refusing to change the outdated (according to the heroine Stone) van-liner “Do not ring eggs!” or adding the Paleolithic archetype of “dumb blonde” - even the first “Zombieland” did not allow such vulgarity (and that’s why it’s somehow particularly funny). Riza and Wernicka, postmodernists to the marrow of bones, are not interested in either old or new sincerity, but only in a comic reworking of ready-made forms and plots: in the sequel they expand the bestiary of zombies (here there are also near-Romemer “homers”, and Boyle-snider runners, and “smart "Predators) and, for example, they insolently dig one small gegg from Edgar Wright to expand it to absurd values ​​and fix it with a complicated action scene. In terms of visual creativity, by the way, the second “Zombieland” has everything in order: the limbs are beautifully scattered in slow mo, blood flows in rivers, brains quietly crawl along the walls. All this with amazing action choreography, which makes me ask only one question: why Fleischer couldn’t, for example, in Venom? (The answer may be that Venom was not filmed by Oldboy cameraman Jung John-hoon.)

At the same time, with all its pleasant old-fashionedness, “Zombieland” at times very interestingly catches on cultural trends. One of the main lines here becomes, for example, a brutal satire of post-apocalyptic pacifists - flowery-haired hippies, over whom Quentin Tarantino already abused enough this year. And in one scene, the theme of secondary art suddenly emerges into a century when information disappears too quickly to remember primary art: one of the hippies gives Bob Dylan's song as his own (the whole story of the recent Yesterday is built on a similar gege). What does it mean? Never mind. Just nice little things - as, indeed, the whole second Zombieland. Rule of survival No. 32: be able to enjoy the little things.