Lux Æterna 2020 Azerbaycanca

Lux Æterna Azerbaycanca 2020

süre : 112 saat tutmak Stimmabgabe
oylanan şey miktar : 4.5/10 (30486 oy vermek)
bünye : Sonics-DDP 1440p
DVDrip
bakış : 7122
ressamlık : Surreal , Samurai
mesleki dil : MX,TW,MP,TH,ES,KR,CR,BI,CHN, IRN, NIC, CAN, LVA
hesaplamak : 7.1/10 (83867 Votum)

Lux Æterna 2020 Azerbaycanca

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[HD] Lux Æterna 2020 Azerbaycanca

Kısa film

Harcandı : $530,992,506

Gelir : $974,200,934

Kategoriler : Horror - Hilarious , Pest - Preis , menschliches Wesen - Dystopie , Wirtschaft - Skepsis

Üretici Ülke : Rumänien

Prodüksiyon : Kaffe Haus

A vibrant essay on respect for beliefs, the actor’s craft and the art of filmmaking.
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American Woman 2019 Azerbaycanca

American Woman Azerbaycanca 2019

süreç : 115 an Votum
oy numara : 8.3/10 (69804 önermek)
soyluluk : MPEG-2 1080p
HDTS
manzara : 3205
beceri : Glück , Verschwörung
mesleki dil : MN,AR,UZ,MP,WF,CU,CR,UA,SXM, ROU, MYT, GMB, SXM
rakam : 2.3/10 (56085 Abstimmungsergebnis)

American Woman 2019 Azerbaycanca

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[HD] American Woman 2019 Azerbaycanca

Kısa film

Harcandı : $878,197,201

Gelir : $825,289,906

Kategoriler : Heuchelei - Reality Fear Object Magic , Verbotene Liebe - Vertrauen , Mathematik - die Gelegenheit , Dialog - Terrorismus

Üretici Ülke : Salomonen

Prodüksiyon : Thats Hollywood

A young grandmother in a small Pennsylvania town raises her daughter's child after the girl disappears. All the while, a desperate search for her continues.
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The Little Stranger 2018 Azerbaycanca

The Little Stranger Azerbaycanca 2018

devam : 167 tutanak tutmak Wählerstimme
seçim sonucu miktar : 6.7/10 (07900 oylamak)
mizaç : FLV 1440p
Bluray
seyretmek : 6275
ustalık : Frauen , math
mesleki dil : TC,HU,QA,NA,PY,IQ,SH,SR,SWE, TCA, PRK, BWA, MAF
sayı : 3.0/10 (02266 Stimmen,
)

The Little Stranger 2018 Azerbaycanca

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You serious _The Little Stranger_? That's what you're giving me?

_Final rating:★½: - Boring/disappointing. Avoid where possible._
_**An "atmospheric character drama" without any atmosphere, and precious little drama**_

> _The subliminal mind has many dark, unhappy corners, after all. Imagine something loosening itself from one of those corners. Let's call it a - a germ. And let's say conditions prove right for that germ to develop - to grow, like a child in the womb. What would this little stranger grow into? A sort of shadow-self, perhaps: a Caliban, a Mr Hyde. A creature motivated by all the nasty impulses and hungers the conscious mind had hoped to keep hidden away: things like envy and malice and frustration._

- Sarah Waters; _The Little Stranger_ (2009)

I remember when I first saw Paul Thomas Anderson's _Inherent Vice_ (which I loved) in 2014, a colleague of mine (who hated it) was unable to grasp why I had enjoyed it so much. I tried to explain that if he had read Thomas Pynchon's 2009 novel, he'd have appreciated the film a lot more, to which he posited, "_one shouldn't have to read the book in order to appreciate the film._" I think I mumbled something about him being a philistine, and may have thrown some rocks at him at that point. So imagine my chagrin when I watched the decidedly underwhelming _The Little Stranger_, a huge box office bomb ($417,000 gross in its opening weekend in the US), and easily the weakest film in director Lenny Abrahamson's thus far impressive _oeuvre_. You see, I really disliked it, but the few people I know who have read Sarah Waters's 2009 novel (which I have not), have universally loved it, telling me I would have liked it a lot more if I was familiar with the source material. To them, I can say only this – "_one shouldn't have to read the book in order to appreciate the film._" It seems my colleague was right after all. I hate that.

The film is set in Warwickshire, a West Midlands county in England, in 1948, where Dr. Faraday (Domhnall Gleeson) is a country physician whose life is going nowhere fast. Born into humble beginnings, ever since he was a child, he has wanted to be a member of the gentry. In 1919, he attended a fête at the opulent Hundreds Hall estate, owned by the aristocratic Ayers family, where his mother worked as a maid, and ever since he has been quietly obsessed with the house. However, by 1948, Hundreds has lost its lustre, is in a state of disrepair, and is now home to only four people – Angela Ayers (Charlotte Rampling), matriarch of the Ayers dynasty, and who never recovered from the death of her eight-year-old daughter, Susan, many years previously; Caroline (Ruth Wilson), her daughter; Roderick (Will Poulter), Angela's son, a badly-burned former RAF pilot suffering from PTSD; and Betty (Liv Hill), the maid. When Betty takes ill, Faraday is summoned, almost immediately learning that the family is in a dire state, with Angela unable to balance their diminished financial situation with the social responsibility of maintaining the estate. Betty also intimates to Faraday that "something" is not right in the house. Offering to treat Roderick's painful burns, Faraday soon ingratiates himself into the family, and becomes a semi-permanent presence in Hundreds. However, that's when things start to go wrong; a child is mauled by a previously passive dog, a mysterious fire guts the library, and noises can be heard throughout the house. As Caroline determines to leave, Faraday attempts to convince everyone there is nothing supernatural happening. Nevertheless, Angela is certain the spirit of Susan is with them; Caroline believes it all has something to do with Roderick's deep unhappiness; Roderick asserts it is something that wants to drive him mad and deprive him of his birthright; and Betty believes it is the malevolent spirit of a former domestic servant. Meanwhile, Faraday and Caroline become romantically involved.

As mentioned above, I haven't read the novel, so most of the proceeding comments are in relation to the film only. Aspiring to blend elements of "big house"-based mystery narratives such as Charlotte Brönte's _Jane Eyre_ (1847), Charles Dickens's _Great Expectations_ (1861), and Daphne du Maurier's _Rebecca_ (1938), with more gothic-infused ghost stories such as Edgar Allan Poe's "The Fall of the House of Usher" (1839), Henry James's _The Turn of the Screw_ (1898), and Shirley Jackson's _The Haunting of Hill House_ (1959), _The Little Stranger_ is not especially interested in the supernatural aspects of the story _per se_. In this sense, Abrahamson and screenwriter Lucinda Coxon have, to a certain extent, created an anti-ghost story which eschews virtually every trope of the genre. More a chamber drama than anything else, the film has been done absolutely no favours whatsoever by its trailer, which emphasises the haunted house elements and encroaching psychological dread (the fact that the film was pushed back from intended release dates several times suggest the studio themselves didn't know quite what they had on their hands). Indeed, to even mention the supernatural elements at all is essentially to give away the last 20 minutes of the film, as this is where 90% of them are contained.

Waters herself has stated she does not consider the novel a ghost story. Instead, she was primarily interested in the rise of socialism in England, the landslide Labour victory in the 1945 general election, and how the now fading nobility was dealing with the decline in their power, influence, and financial opulence;

> _I didn't set out to write a haunted house novel. I wanted to write about what happened to class in that post-war setting. It was a time of turmoil in exciting ways. Working class people had come out of the war with higher expectations. They had voted in the Labour government. They wanted change. So it was a culture in a state of change. But obviously, for some people, it was a change for the worse._

With this in mind, the main theme of the film is Faraday's attempts to ingratiate himself with the Ayers family, to transform himself into a fully-fledged blue blood, even when doing so goes against his medical training; his commitment to his own upward mobility is far stronger than his commitment to the Hippocratic Oath. He is immediately dismissive of the possibility of any supernatural agency in the house, and, far more morally repugnant, he does everything he can to convince those who believe the house is haunted that they are losing their minds, that the stress of what has happened to the family has pushed them to the point of a nervous breakdown. He's also something of a passive-aggressive misogynist, telling Caroline, "_you have it your way – for now_", and "_Darling, you're confused_". For all intents and purposes, Faraday is the villain of the piece, which is, in and of itself, an interesting spin on a well-trodden narrative path.

However, for me, virtually nothing about the film worked. Yes, it has been horribly advertised, and yes, it is more interested in playing with our notions of what a ghost story can be, subverting and outright rebelling against the tropes of the genre. I understand what Abrahamson was trying to do (after all, my all-time favourite horror movie, Daniel Myrick and Eduardo Sánchez's _The Blair Witch Project_ (1999) is all about psychologically disturbing the audience, with not a jump scare in sight), however, so too does _The Little Stranger_ shun the standard alternative to jump scares – creeping existential dread – and as a result, it remains all very subtle, and all very, very boring – the non-supernatural parts of the story give us nothing we haven't seen before, and the supernatural parts simply fall flat (the "twist" at the end is also incredibly predictable).

One of the main issues for me is Faraday's emotional detachment. I get that he's the ostensible villain, so we're not meant to empathise with him, and, as an unreliable narrator, his very role is to objectively undermine the subjective realism of the piece, and disrupt the smooth path of the narrative transmission (the same role performed by the Second Mrs. de Winter in _Rebecca_). However, Gleeson/Faraday practically sleepwalks his way through the entire film, getting excited or upset about (almost) nothing; on a stroll through the estate with Caroline, she apologises for dragging him out into the cold, and he replies, "_Not at all. I'm enjoying myself very much_", in the most dead-tone unenthusiastic voice you could possibly imagine, sounding more like he is having his testicles sandpapered (this part also elicited the film's only laugh at the screening I attended). So I know detachment is precisely the point, but, firstly, we've seen Gleeson play this exact same character before – all brittle, buttoned-down intellectualism – and secondly, he comes across as more robotic than detached, and after twenty minutes, I was thoroughly bored of him, and just stopped caring. Indeed, all of the characters are somewhat buttoned down, but Rampling, Wilson, and Poulter all give more nuanced performances than Gleeson.

Partly because of this, and partly because of Coxon's repetitive script, the film is just insanely and unrelentingly dull. Now, I don't mind films in which nothing dramatic happens (Chloé Zhao's _The Rider_ (2017), which barely has a plot, is one of my films of the year), but in _The Little Stranger_ nothing whatsoever happens at all, dramatic or otherwise. By way of comparison, check out Oz Perkin's _I Am the Pretty Thing that Lives in the House_ (2016), a similarly themed film which shuns jump scares but whose encroaching sense of dread creates a potently eldritch tone, something sorely lacking in _The Little Stranger_. Instead, the script just goes round and round, through the motions; "_this house is haunted_" – "_no, you're just tired_" – "_you're probably right_" – "_I am, have a lie down_" – "_okay. Wait, this house is haunted_" – "_no, you're just tired_", etc.; wash, rinse, repeat. The pacing is absolutely torturous, and I certainly envy anyone who was able to get more out of the narrative than the opportunity to take a nap.

One thing I will praise unreservedly is the sound design. Foregrounded multiple times, this aspect of the film often becomes more important than the visuals. For example, sound edits often bridge picture edits in both directions (L Cuts and J Cuts). Similarly, we repeatedly experience the sound of one scene carrying over into the image of another well beyond the edit itself, so much so that it becomes a motif, suggesting a distortion of reality. Just prior to the dog attack, the sound becomes echo-like and the picture starts to move in and out of focus, as the camera shows Faraday in a BCU, suggesting he is becoming unglued from his environment. This also happens later on with Roderick, just prior to the fire. Perhaps the most interesting scene from an aural perspective is the scene in the nursery near the end of the film. As Angela examines the room, the distorted and difficult to identify sound becomes unrelenting (it is easily the loudest scene in the film). However, as the other characters run through the house towards the noise, all sound is pulled out almost entirely, with only the barest hint of footfalls detectable. This is extremely jarring and extremely effective, working to emphasise the dread all of the characters are by now feeling.

However, beyond that, this just did nothing for me; there was nothing I could get my teeth into, I didn't care about any of the characters beyond the first half hour, the social commentary was insipid and said nothing of interest, the supernatural aspects are so underplayed as to be virtually invisible, and, most unforgivably, the film is terminally boring. Maybe if I'd read the book…

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[HD] The Little Stranger 2018 Azerbaycanca

Kısa film

Harcandı : $209,591,759

Gelir : $799,501,480

Kategoriler : Kurzer Rock - Universum , Opernfilm - Widerstand paradox , Show - Zynismus , Verrat - Horrorfilm

Üretici Ülke : Äthiopien

Prodüksiyon : Oscorp Entertainment

In a dusty post-war summer in rural Warwickshire, a doctor is called to a patient at lonely Hundreds Hall. Home to the Ayres family for over two centuries, the Georgian house is now in decline. But are the Ayreses haunted by something more sinister than a dying way of life?
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My Thoughts Are Silent 2020 Azerbaycanca

My Thoughts Are Silent Azerbaycanca 2020

süreklilik : 176 tutanak tutmak Wahlresultat
karar müzik parçası : 3.0/10 (74017 oylayarak kararlaştırmak)
asalet : AVI 1080p
HDTS
görmek : 4381
ressamlık : Gut , Videospiele
dil : SI,GW,GB,MH,CC,IS,VE,HM,VCT, SUR, IRQ, SSD, KWT
yaşında olmak : 4.5/10 (83410 Stimmrecht)

My Thoughts Are Silent 2020 Azerbaycanca

My Thoughts Are Silent Azerbaycanca-sinema-çekimi-MPEG-2-2020-hd stream-online anschauen-Blu-ray-auf englisch-ganzer film-stream-mit untertitel-TVrip-ASF-download.mp4

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[HD] My Thoughts Are Silent 2020 Azerbaycanca

Kısa film

Harcandı : $505,293,839

Gelir : $703,118,368

Kategoriler : Fantasie - Geistesgesundheit , Egal - Psychologisches Drama , Biblisch - Guerilla , Liebe - Umweltverschmutzung

Üretici Ülke : Slowakei

Prodüksiyon : Ceskoslovenská Televize

Twenty-five-year-old Vadym earns a living recording and selling all kinds of different sounds; nevertheless, he’d rather exchange his life in Kyiv for a better future in far-flung Canada. Thus, when he gets a generous job offer which might help him realise his dream, he jumps at the chance; he soon sets off to record the sounds of animals indigenous to Ukraine and also a rare bird native to the Carpathians. The situation proves somewhat more complicated when Vadym’s companion on the trip turns out to be his mother… To the sounds of a synthesized music score, debuting Ukrainian director Antonio Lukich unfolds a visually creative road movie, in which he demonstrates a highly unusual talent for constructing tragicomic situations.
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Gods of Egypt 2016 Azerbaycanca

Gods of Egypt Azerbaycanca 2016

devam : 196 zabıt tutmak Wahlresultat
önerme müzik parçası : 5.1/10 (49887 önermek)
özellik : ASF 1080p
Blu-ray
görüş : 0500
şeytanlık : Sorge um die Moral , Himmel
mesleki dil : BG,KN,GA,VG,UZ,GN,TM,BS,ATF, TCA, GEO, SPM, PRK
saymak : 2.3/10 (99935 Votum)

Gods of Egypt 2016 Azerbaycanca

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> A fight among the gods, for the Egyptian empire.

I like this director, but this is not his best work. I think the Hollywood fed up with Greek stuffs, now they're looking at the ancient Egypt. Where's the next stop? India? This film was not a bad idea. I liked the story, a mission based concept, but I did not like the CGI. Visually, it was okay, though those CGI characters felt like they're from sci-fi. I think they inspired by the ancient Egyptian arts. Other than that, this film is enjoyable.

At least I knew about Greek deities, I learnt a few words and names about Egypt mythology through this. Gerard Butler in a negative shade was good and the other actors too decent. I was not interested in this film, but now somewhat I enjoyed it, that mean they should stop it here, no sequel please.

I had no issue with the casting, it is a marketing strategy. You can't just put a new foreign face in front of the camera and make money out of it. Cinema itself means fake display. Age, skin, death, everything is fake. So people must learn to accept it similar to when a black, Malaysian or Indonesian man says he's a mooslim, but genetically he's not, just converted to.

Well composed stunt sequences, especially bloods with liquid gold, totally got the PG13. Least expected film of the year, but got entertained better. It got the mixed response and mostly negative feedback from the critics, but who knows you might have a good time like I did. So you could try it if you want in your free time, because it is not worth to spend your valuable time.

6/10
The illegitimate child of _Transformers: Revenge of the Fallen_ and _Marvel's Thor_. One that probably should have been aborted.

I could see _Gods of Egypt_ working in the "dumb fun" kind of way, if it hadn't been so bloated and overly long. As it stands, it has some very neat design choices... And that's it. That's all it has going for it. Not a single actor seems to care that they're in this movie, the digital effects are hit and miss at best, and the story is sillier than it had to be, yet not as entertaining as it could have been.

But yes. Some great designs.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
Fantasy is very difficult to get right in films. Audience resistance is quite high, especially when it involves characters with difficult-to-remember names or diverse place names. Relating to a fantasy world of beasts and magic is often tricky for audiences who may prefer grounded, realistic drama. There are exceptions though – the worlds of Star Wars and Lord of the Rings captured public imaginations and the complex mass of stories and themes in Game of Thrones also attracted an audience.
This fear of fantasy seems to have informed a slightly tentative approach in the writing and direction of Gods of Egypt. There are plenty of fantastic creatures present ranging from giant, vicious snake like creatures to Minotaurs in all but name, and an array of Egyptian gods. However, there has been avoidance of any of the cod Shakespearean dialogue that often permeates works of this type and an emphasis more upon realistic dialogue. This creates a needless tension between the intensity of the innovative visuals and the prosaic words dropping from the actors, a tension that is never resolved as the linear story progresses forwards but never upwards.
The pleasures with this film arise mostly from the intensity of the visual experience. Every environment has been precisely designed, full of colour and dimension, looking very different from the landscapes seen in past films based on myth and history. The benefit of this is that there is always something to attract the eye, from great sky barges to rainbow lit waterfalls and massive monuments. Like all Alex Proyas’ films the visual ideas add weight and substance that the scripting sometimes fails to.
It is however that narrative which brings the film down with a series of very deliberate events extrapolated in excessive detail, burdened by actors who at times look deathly uncomfortable in their roles. Only Geoffrey Rush, in a small but notable part, really excels with so many of the others not able to bring life to the dialogue as they intone in front of ever present green screens.
In the end it is a pity that such a wonderfully conceived world at the visual level could not have been combined with a compelling story and acting.
When the credits rolled after having watched this movie with my kids I was perplexed. I knew this movie had not received very great ratings and I had heard rumors that some people had even labelled it the worst movie of the year. However, I had liked watching the movie…a lot!

Sure, the script is predictable and certainly wont win any prices for best script anywhere. The acting is adequate but no more. But it is a fun fantasy adventure movie, a simple adventure / action fantasy roller-coaster. Plenty of fairly cool special effects. Some humor, some romance. It is also fairly devoid of politically correct preaching, whining, mentally unstable and self destructive “heroes” and all that crap. In short it is the kind of movie I like.

I actually looked up the movies page on Wikipedia and it was pretty much full of nonsense and whining about how the movie was not “ethnically correct”. What the f…? It is a bloody fantasy adventure movie for Christ sake! It is meant to entertain! Who the hell cares about whether the actors are native Egyptians or something else? Well, I guess Eskimos would look a bit funny in those roles but otherwise…

Yes it does take quite a few liberties with Egyptian mythology but again, it is a fantasy movie guys! And Egyptian mythology, like any other mythology, goods etc, is nothing but fantasy and story telling from the start so just live with it. To me they stayed true enough to the core of the mythology and I would actually give the director and script writers bonus points for actually depicting the earth as flat as was the predominant belief in those times. Those scenes with Ra dragging the sun and the flat Earth was quite beautiful actually.

The rating on IMDb is also on the low side but of those that took the effort to write a review most seems to be quite positive. The mostly negative ones are, of course, the so called “critics”. No surprise there.

It is sad to see how a, in my opinion a quite entertaining, movie can be so sabotaged by a bunch of, again in my opinion, loud mouthed, ignorant, intolerant, fanatical SJWs who seems to believe that a movie cannot be allowed to just entertain but has to carry a political message, their political message.

I would recommend anyone into fantasy and adventure movies to check this one out if you should stumble upon it. I certainly do not regret adding it to my collection.

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[HD] Gods of Egypt 2016 Azerbaycanca

Kısa film

Harcandı : $560,281,544

Gelir : $877,199,495

Kategoriler : Trivia - Umweltentfremdung , Test - Bondage , Reisen - Atheist , Opernfilm - initiativ Klassische Verzweiflung

Üretici Ülke : Philippinen

Prodüksiyon : Tomorrow Pictures

A common thief joins a mythical god on a quest through Egypt.
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Zombieland: Double Tap 2019 Azerbaycanca

Zombieland: Double Tap Azerbaycanca 2019

devam : 198 saat tutmak Wahlstimme
oy numara : 6.8/10 (52189 bildirmek)
vasıf : MPG 1080p
DVD
görüntü : 8155
şeytanlık : Religion , Rebell
dil : AW,ES,SC,BM,GP,FO,WS,SS,GTM, MNG, MDA, PAK, CHE
hesaplamak : 3.5/10 (20730 Votum)

Zombieland: Double Tap 2019 Azerbaycanca

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Even with its flaws, ‘Zombieland: Double Tap’ doesn’t overstay its welcome with its 99-minute run time, and remains a solid piece of popcorn entertainment. Although it doesn’t push any boundaries, it’s harmless fun (the Homer zombie of horror films, if you will... that’ll make more sense after you’ve seen it). So stumble into a cinema and join these friends on a reunion - sure, one filled with endless blood, guts and brains, but that’s half the fun of a zombie comedy, right?
- Charlie David Page

Read Charlie's full article...
https://www.maketheswitch.com.au/article/review-zombieland-double-tap-the-gangs-back-for-a-brainless-zombie-comedy-sequel
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As you probably know by now, since I posted the original film's review a few hours ago, I loved the first Zombieland. I defend that it's a zombie cult classic, and I was genuinely pumped for its sequel. It didn't go through any external controversy (something quite rare nowadays), the cast didn't say anything wrong in the interviews (haters didn't have enough words to twist this time around), Ruben Fleischer returns as the director, as well as Rhett Reese and Paul Wernick (plus a new member, Dave Callaham) as the screenwriters. If a studio wants to do a 10-year sequel, it might as well get the creators and original cast back together, right?!

That's what I love the most about Double Tap. It didn't lose the original's essence, and it didn't forget what made it so successful. The cast's chemistry can be felt thousands of miles away, but the new additions also fit in seamlessly. Zoey Deutch portrays Madison, a purposefully stereotypical "dumb blonde girl" who has some of the funniest scenes as well as some of the most cringe-worthy (Deutch gives an excellent performance, though). And Rosario Dawson plays Nevada, basically a women version of Tallahassee (Woody Harrelson), which means she has a bunch of badass action sequences. As for the old gang, well…

Everyone delivers great performances, but this time, Harrelson really elevated his character. Not only does he have the expected awesome kickass moments, but he also offers some emotionally compelling displays. Emma Stone (Wichita) and Abigail Breslin (Little Rock) keep being amazing as their characters, and Jesse Eisenberg (Columbus) does get a bit too … Jesse Eisenberg, but it never stops feeling natural, having in mind how his character acts. These four are the heart of the whole show. Hence, getting the original cast back together is halfway through success, even more than in the first movie. Story-wise is where I do have some complaints, unfortunately.

Maybe it's due to the fact that I watched 2009's Zombieland just a couple of hours before Double Tap's screening, but I wish that Fleischer and his team were more creative. Sure, the original was 10 years ago, and not everyone is going to rewatch the original (especially not right before), so it's expected that a lot of classic moments are recreated in some shape or form. However, for an extended period, I felt that I was watching the exact same film, just with older characters. I know I'm going to hear some of Columbus' original famous rules, but there's a surprising lack of new ones. I know Tal is going to repeat some of his catchphrases, but he's an imaginative guy, he can think of fresh ones (which he does say in the last minutes, but still).

To move the plot forward or actually make the story happen, a lot of questionable things occur, and not in the sense of them not being rational (it's not like Zombieland is a groundbreaking piece of storytelling). It's the apparent lack of character development through all of the years that have passed, and I'm not addressing their personalities being the same (it's pretty normal). To create this movie, characters make decisions that don't feel right, having in mind they spent so much time together. It's impossible for love, trust, and emotional attachment not to be developed throughout such a long time. So, while Little Rock's arc is understandable and relatable, Wichita and Columbus' lacks convincing arguments, in my opinion. Both make decisions too dumb for such intelligent characters, but I guess "that's love".

Once again, the technical features that defined the original so clearly are seamlessly employed in its sequel. Beautiful production design, cool soundtrack, fantastic application of practical effects and real sets, which nowadays are getting rarer. The slightly longer runtime still manages to carry a fast pace, which is always a good attribute, and it's packed with thrilling, hilarious, bloody action sequences. Amusing pop culture references, and the most significant moment of all: Double Tap has one of the best, if not THE best, mid-credits scene of the year! Don't you dare leave the theater, it's right at the beginning of the credits, so stay in your seat!

All in all, Zombieland: Double Tap pays a decent homage to the original zombie cult classic by getting everyone (cast and crew) back together, and delivering yet another entertaining flick. By maintaining the essence of the first film, Ruben Fleischer is able to capture the outstanding cast's chemistry, as well as present those amazingly entertaining action sequences. Even though the central narrative isn't as straightforward and interesting as in the original, it's still captivating enough for the audience to care about. There is an excessive amount of callbacks to classic catchphrases, rules, or moments, which shows a bit of a lack of imagination to create new material. While it's not as funny or entertaining as the 2009's movie, it's still a good time. If you're a fan of Zombieland, definitely watch it! If not, well… Nut up and watch it or shut up and let others enjoy it.

Rating: B
_**Just as funny and irreverent as the original, even if it hits all the same beats**_

> _I'd rather die while I'm living than live while I'm dead._

- Jimmy Buffett; "Growing Older But Not Up" (1981)

The original _Zombieland_ (2009) was something of a sleeper hit, earning over $100 million against a $24 million budget, becoming the most financially successful zombie movie ever made, until it was surpassed by Marc Forster's asinine _World War Z_ (2013). Smart, funny, and self-aware, it didn't take itself too seriously, and it had bucket-loads of heart, but it was hardly a film crying out for a sequel. And as time passed, it seemed more and more unlikely such a sequel would happen. However, after a decade in development hell, _Zombieland: Double Tap_ has arrived, and boy is it one of the most unnecessary sequels I've seen in quite some time. However, as unnecessary as it is, it's also extremely enjoyable. It doesn't do a whole lot that wasn't in the original, but the irreverent sense of humour, fourth wall breaks, sharp character interactions, and, most importantly, shedloads of charm are all present and accounted for. Directed by Ruben Fleischer (who helmed the original) and written by Rhett Rees and Paul Wernick (who wrote the original), along with Dave Callaham, _Double Tap_ may not take too many risks, but it's a fine companion piece.

10 years after the events in the first film, the quartet is still together and still getting on one another's nerves – there's the neurotic but sweet Columbus (Jesse Eisenberg doing his Jessie Eisenberg thing), the crass but caring Tallahassee (a wonderfully acerbic Woody Harrelson), the sarcastic Wichita (a dead-pan Emma Stone) and the laidback Little Rock (Abigail Breslin doing a lot with the little she's given). As we meet them, they're in the process of taking up residence in the White House – Columbus and Wichita are still a couple, but recently, she's started to wonder if perhaps their relationship is more important to him than it is to her; Little Rock is now a young woman who resents the fact that Tallahassee still treats her like she's 11; and Tallahassee, for his part, hasn't changed an iota. After Columbus proposes to Wichita (using the Hope Diamond), she and Little Rock skip town, but she returns a month later, telling the others that Little Rock ditched her and headed to a supposed zombie-free commune. And so the trio reluctantly set out to find her. Along the way, we're introduced to Madison (Zoey Deutch, who completely steals the film), a millennial bimbo who's been holed up in walk-in freezer; Berkeley (Avan Jogia), a peace-loving hippie; Nevada (Rosario Dawson), a tough-as-nails Elvis aficionado; and Albuquerque (Luke Wilson) and Flagstaff (Thomas Middleditch), who are eerily similar to Tallahassee and Columbus (the reveal of which was spoiled by the trailer). There's also a new breed of zombie, which is faster, stronger, and more intelligent than the regular kind, and which can only be killed with multiple head-shots.

And that's about it as far as the plot goes. The original film came at a time when the zombie genre was just starting to be taken more seriously – Danny Boyle's _28 Days Later_ and Juan Carlos Fresnadillo's _28 Weeks Later_ were released in 2002 and 2007, respectively, introducing all manner of innovations and turning many of the genre tropes on their head; Jaume Balagueró and Paco Plaza's _[•REC]_ films were released in 2007 and 2009, setting a new standard for found footage films; _The Walking Dead_ debuted in 2010, and for the first few seasons it was as well-reviewed a show as you could find (until it turned into repetitive self-parody). Zombies also featured heavily in video game franchises of the era, such as _Siren_ (2003), _Dead Rising_ (2006), _Dead Space_ (2008), and _Dead Island_ (2011). _Zombieland_ cared about none of that – it was, in fact, the inverse of such titles, a film that didn't take anything seriously, least of all itself.

With this in mind, although 10 years have passed and the landscape is very different, one of the sequel's most successful elements is that next to nothing has changed; in essence, it acknowledges the gap precisely by ignoring it. So, Columbus's opening voiceover specifically refers to the long break as he thanks us for choosing _Double Tap_ when there is such "_a wide choice of zombie entertainment_" and Madison tells Tallahassee his catchphrase is "_very 2009_", but the film as a whole feels as if it was shot immediately after the original. Of course, this is important insofar as in the universe of the franchise, the last decade has been very different to the last decade of our reality, so the filmmakers can't layer in too many contemporary references – although Columbus does mention how "_unrealistic_" _The Walking Dead_ comics are, there's a hilarious deconstruction of the concept of Uber, and there's a subtle allusion to Trump when Wichita sarcastically tells Tallassee he'd have brought "a real dignity" to the office of the presidency.

This factors into the performances as well, insofar as Columbus, Tallahassee, and Wichita are all broadly similar to how they were 10 years ago. Little Rock has changed significantly, but that's as much to do with the fact that she was a child in the original and is now a young woman. This lack of character development may sound like a bad thing, but really, the familiarity of the characters and their group dynamic has its own inherent charm, we welcome it because it's familiar, with the cast essentially doing the same things they did in the original. Speaking of performances, Zoey Deutch completely owns every scene she's in. Sure, the character is clichéd as all hell and, on paper, she should be all kinds of annoying, but that she isn't, is a testament to Deutch's warm performance, finding genuine pathos amidst the perpetually peppy and cheerful high-energy ditz. She also has great chemistry with the original cast, especially Harrelson. In fact, all of the new actors have terrific chemistry, which is nice to see insofar as effortless chemistry was one of the hallmarks of the original.

In terms of problems, as mentioned, the film doesn't do a whole lot that wasn't in the original – the characters are the same, the narrative beats are the same, the group dynamic is the same, the sense of humour is the same – and for some, this will certainly be an issue. Indeed, as much as I enjoyed the film, I would have liked to see it take more risks (there's certainly nothing here to rival the inspired Bill Murray cameo). Because of this blanket similarity, there is a sense in which the sequel isn't really its own thing, it's defined primarily by what the original did rather than forging its own path, and a lot of the meta-humour only works if you know the original. Another problem is that it fails to do much with an interesting set-up, which sees women chaffing against traditional gender roles and the identities conferred on them by men. Once the gang end up on the road, this theme is pretty much forgotten (even with the introduction of Nevada, who seems more like a man's idea of what a tough woman should be than her own person). There are also more than a few clichés, primarily in relation to Madison (as blond a character as you'll ever meet) and the one-note Berkeley (a weed-smoking gun-hating hippie, who is literally introduced by way of a sitar on the soundtrack).

_Zombieland: Double Tap_ is undemanding and doesn't completely justify its existence, but it also does justice to the original, and never for one second does it take itself seriously. The effortlessness with which it slots into the original's groove is either funny in its own right or poor writing, depending on your perspective, but the film is smart enough to know and acknowledge that it feels slightly out of place in 2019, in a way the 2009 original did not. And if a little of the spark has been lost, the warmth, the characters, the jokes, and the playfulness more than make up for it.

"

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Columbus, Tallahassee, Wichita, and Little Rock move to the American heartland as they face off against evolved zombies, fellow survivors, and the growing pains of the snarky makeshift family.
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