Movie Review – Zombieland

ZOMBIELAND – REVIEW

10 out of 10

What can I say? Zombieland is the perfect zombie movie. A potent mix of horror, gore, action, comedy and buddy movies, the film works on all levels and is seriously the most fun you can possibly have at the movies. It made me jump, made me laugh and also made me genuinely care about the characters. The film is a visually arresting, highly stylized treat that entertains all the way through and will leave you wanting more. The premise of the film is relatively simple. The world has been overrun by zombies and the few survivors of the human race are constantly on the move trying to find someplace safe to lay their heads at night. The movie starts out brilliantly with Columbus (Jesse Eisenberg) telling us about his rules for survival in post-apocalyptic zombie filled America.

The opening credits ensue and we are shown various scenes of people running from zombies in the slow motion technique popularized by Watchmen. From there we are introduced to Columbus who explains what has happened to the world and why he has managed to survive so long. Being an introvert by nature, Columbus has managed to stay alive by sticking to his self created rules such as cardio good, avoid bathrooms and the double tap (always shoot twice). More rules are introduced as the film plays and the gag never grows old. Columbus decides to head towards Ohio in hopes that he will find his parents alive and well. On the way he hooks up with Tallahassee (Woody Harrelson), the most bad ass zombie killer you can imagine. Just to clarify, the characters call each other by their destinations, not by their actual names. Tallahassee explains that it’s easier not to grow attached to each other that way.

The pair are complete opposites which allows for some great buddy movie comedy and from here on in Zombieland plays like a road trip comedy on acid. Attacked by zombies at every turn, the two soon meet up with two sisters (Emma Stone and Abigail Breslin) who have managed to survive and after a few false starts; the foursome begins to trust and like one another.

Woody Harrelson as tough guy zombie slayer Tallahassee is ideally cast and it is the best role of his career. Harrelson is hilarious in the film, displaying his impeccable comic timing while also showcasing his tough guy swagger. Watching him kill zombies is as pleasurable for the audience as it is for the character. Harrelson shares great chemistry with Jesse Eisenberg as Columbus, in effect portraying the Odd Couple as zombie killers. Eisenberg is solid, perfecting the nerdy, wimpy guy and he reminds me more than a little bit of king of the dweebs, Michael Cera. In fact Cera must be kicking himself for turning down this role (I’m assuming he was offered it). Emma Stone as tough older sister, Wichita, is quite good and I believe she has a bright future on the silver screen. Abigail Breslin as her little sister, Little Rock, is one tough little cookie and proves that she is much more than Little Miss Sunshine. There is also a side-splitting cameo from… I don’t want to ruin it… let’s just say it is a brilliant cameo from a comedy god.

First time director, Ruben Fleischer, does a great job of moving the film along at a breakneck pace while also mining the comedy gold out of every situation the characters find themselves in. He has a wonderful visual style that borrows heavily from Zack Snyder (Dawn of the Dead remake, Watchmen) and he is certainly a director to watch in the future. It’s not an easy thing to make something fresh out of a zombie flick, but Fleischer takes the genre (sub-genre?) to a whole new level.

To sum it up, Zombieland is a splatteristic, gory, jump out of your seat horror film that also happens to be one of the funniest films of the year. Anchored by terrific performances, Zombieland is a must see horror/comedy delight. Better than Shaun of the Dead or Zack Snyder’s Dawn of the Dead remake, Zombieland is the definitive zombie movie.

Date Night – A So So Comedy Thriller

Date Night is a so-so comedy thriller. For those wishing to master the screenwriting craft that’s a good thing, because you can often learn the most from a movie that isn’t too good or too bad. Its strengths and its flaws are easier to see.

With stars Steve Carrel and Tina Fey it’s hard to avoid comparing the film to The Office and 30 Rock. That just gives us another instance of the truism that the best writing in comedy is in television, not film. But the brilliance of those shows is actually more difficult to explain. With Date Night, techniques and choices, successes and failures, are clear.

The biggest challenge when you write a comedy screenplay is setting up the comic structure, what I call the “clothesline,” on which you will hang the jokes. This clothesline is essential in sitcoms too, but it is much harder to create in a movie because it has to stretch for at least 90 minutes, not 22.

You create the clothesline using two major structural elements, the comedy sub-genre and your hero’s desire line. This is where most comedy writers go wrong. They don’t realize that there are seven major comedy sub-genres, including romantic comedy and farce, and each has a completely different set of story beats you have to hit to tell the story well (see the Comedy Class for the beats in all 7 sub-genres).

In Date Night, writer Josh Klausner uses the comedy thriller form (a kind of action comedy), which goes back at least to the early Hitchcock films. Here we have the innocent couple on the run, forced to battle criminals or spies. This form is not used much nowadays because combining comedy with thriller creates real problems of tone. If the opponent is too deadly the jokes aren’t funny. There’s also a number of contrivances you have to explain away, most notably how two average shmos could possibly compete with, much less defeat, hardened criminals, and why don’t they just go to the police.

The Date Night script gets barely passing grades in these basic areas of storytelling. The unbelievability of Steve and Tina going up against professional killers is always present. But this isn’t a fatal problem because the audience just falls back on the fact that this is a comedy.

The advantage of using the comedy thriller sub-genre is that it gives the script a strong desire line that extends to the end of the story. Much like the detective line in The Hangover, this couple’s desire to escape attack and find the incriminating flash drive creates a strong narrative drive on which the writer can hang any number of funny but episodic scenes. It also allows him to save the funniest scene for last, which is one of the gold standards in a comedy movie and almost never happens.

As a comedy writer, your goal is always to make the comedy build. The laughs should stand on the waves of the laughs that come before until the audience is gasping for breath. That rarely happens in a movie comedy because you have to extend the story for 90+ minutes and because you have to tie up all the story business as you get to the end of the line.

Klausner solves this problem in Date Night, first by setting up the thriller line and second by keeping the final battle simple. Without a last omplex action scene to divert the audience from the jokes, Klausner can keep the focus on two top comic performers doing an incompetent pole dancing routine that brings the house down.

With the strong if hokey clothesline, the strength of the movie can come through, which are the funny bits that pop up throughout the story. Lines like “He turned the gun sideways; it’s a kill shot,” gags like the painfully slow motor boat and scenes like the marital spat between the Tripplehorns are laugh-out-loud funny. In Hollywood, the rule is if you have three laugh-out-loud moments in the film you have a hit. That’s a low bar for movies as opposed to television, but the important thing for writers to focus on is how you get those laughs. And that comes from the comic structure that supports the gags.

If setting up the clothesline is one of the big strengths of Date Night, the attempt to make the comedy come from character is one of the big weaknesses. Most writers have heard how valuable it is for the comedy to come from character, but few really know what it means, or how to do it. I discuss this a lot in the Comedy Class, because if you can master this set of techniques you immediately become one of the top comedy writers in the business. Let me focus on one technique in this area.

You must begin the story by establishing a deep weakness/need in the main character – in this case a couple – which then will be solved by the story line. In other words, the hero’s weakness must be embedded and solved all the way back at the premise line. The premise is your story stated in a single sentence. The Date Night premise might be described like this: a couple whose marriage has become predictable defeats criminals and renews their love.

The premise is like the hypothesis in a science experiment. It’s the fundamental truth about the world you are trying to establish. In an experiment you may determine that your hypothesis is wrong. But in a story you have to prove the premise. The sequence of story events must display in detail the truth about life you describe in one line. This is also called fulfilling the “promise of the premise,” the promise you make to the audience when they agree to come to the theater to see this story.

Klausner clearly wants to tell a story that proves the premise because he spends a great deal of time at the beginning showing that this couple’s marriage has grown stale from the demands of work and children. Even their date night hits the same old routine. The thriller structure is supposed to be the vehicle of renewal. It’s the same technique used, correctly, in Rear Window, where the Jimmy Stewart character learns to respect and commit to the Grace Kelly character by solving a crime with her.

But while this process is given lip service here, it never actually happens. Sure, escaping killers and bringing them to justice makes for an exciting night and a fun makeout session on the lawn the next morning. But it has nothing to do with changing what’s wrong between these two and how they will act differently toward one another for a 1001 nights in the future.

Klausner is definitely doing some things right here that most comedy screenwriters, even those with films under their belts, are not doing. He’s not reaching the level of the sitcoms in which these stars normally appear, but those sitcoms don’t have to tell a funny story over 90 minutes. Still, I can’t help feeling disappointed with this film. When a writer knows how to create comedy from character, you get great thematic comedies like Groundhog Day that express recognizable truths at the same time they make you laugh. Date Night is simply not in that league.

Animated Comedy Movies

Comedy movies have been around since film saw its beginnings, but the animated genre has gained popularity throughout recent years. Though animation is particularly popular with children, comedies geared at adult audiences have also been released in this spectacular format. It’s more commonly seen on the television networks (with animated adult comedy shows such as Family Guy and South Park) but it has been done on the big screen.

Which animated comedy movies should you watch? It depends what you are looking for. These family and mature audience films of the gene are a great place to start.

Animated Family Comedy Movies

The Madagascar Films (2005; 2008) – These films serve up adventure and plenty of laughs, with a cast of animal characters who suddenly find themselves in the wilds of Africa after only having known life within the sweet captivity of the Central Park Zoo. The characters are voiced by some of today’s best loved comedians including Chris Rock, Ben stiller and Sacha Baron Cohen. A third film is set to be released in 2012.

Monsters VS Aliens (2009) – Got a family full of sci-fi fans and of course, lovers of comedy movies? You’ll all enjoy this computer animated comedy about a woman who is struck by a meteorite on her wedding day, transformed into a giant, taken captive by a secret government compound and befriended by a group of strange but lovable monsters  who’ll join with her to combat aliens and save the world!

Cloudy with a Chance of Meatballs (2009) – The beloved children’s book is brought to life by a hilarious cast and modern animation. Join Flint, the wanna-be inventor, who finally sees some short lived success as he falls for the girl, creates enough food to fill the bellies of everyone in town and later deals with the comical catastrophe that ensues!

Animated Comedy Movies

Who Framed Roger Rabbit? (1988) – There’s trouble in Toontown in this classic favorite. Families with older children might consider this film for a family night pick. Some scenes may give younger children a fright. The film is a wonderful combination of comedy, mystery, fantasy and live action mixed with animation. 

South Park: Bigger, Longer and Uncut (1999) – South Park took hold of its success and went the comedy movies route when it was brought to the big screen in 1999. As usual, fans’ favorite characters -Kyle, Stan, Cartman and friends- are in the midst of comical adventure, with no shortage of foul language and extremely crude humor. 

Eight Crazy Nights (2002) – If you’re an Adam Sandler fan (and of his more adult films) you may enjoy watching him dish out the laughs (and plenty of song, those this isn’t your typical musical number) in full cartoon style animation.