Zombie films work on one basic principle: catharsis. The unbridled joy of putting oneself in the blood-caked boots of the movies' protagonists as they discover new and creative ways to bring the walking dead to a satisfyingly gruesome demise is what has kept the genre (ahem) alive since George Romero first applied makeup to severely underpaid extras in 1968's "Night of the Living Dead." With "Shaun of the Dead" a few years ago, undead flicks got an unsolicited but hilarious reanimation by mixing slapstick comedy into the genre's already darkly humorous styling.

Enter "Zombieland." Though a zombie comedy (now a bonafide subgenre with its own portmanteau: zomcom) like its British counterpart, that's where most comparisons end. "Zombieland" is the young, hip, wisecracking hotshot to "Shaun of the Dead's" intellectual, mature take on Z-Day. A thinking man's comedy "Zombieland" is not. What it is, however, is the unexpected feel-good film of the year.

Ruben Fleischer finally makes the next step from directing music videos for the lies of Kanye West and M.I.A. in his feature film directorial debut here, and while the requisite jitters aren't completely absent, he takes chances few in his place would have the confidence to take, bucking numerous trends in the name of comedy.

"Zombieland" begins by planting the viewer firmly in the action. No eerie establishing scene or character introduction at the outset means instant transportation straight to the core. Our protagonist, Columbus (Jesse Eisenberg), narrates us through a crash course in the beginning of the end of days, and after that it's back to the plot and problems at hand.

A running gag from the opening scene is a set of rules compiled by Columbus to help him and anyone watching survive in a world inhabited by ravenous brain munchers. The rules are presented on-screen throughout the film in similar style to that of the recent Volkswagen ads, with the words hanging from different objects as the characters pass by and continue with the action unabated by the cues.

Seemingly, the purpose of this breaking of the forth wall is an attempt for the movie to completely ignore another zombie film convention: suspension of disbelief.

"Zombieland" knows it's a movie, and it wants its audience to know that it knows. Had this been a darker film like some heavier handed fare ("28 Days Later" and its sequel), the device wouldn't work at all and would serve to remove the viewer from the tension present. Instead, this makes the whole presentation a high-fiving romp through an otherwise desolate world. Parts even feel like a video game, which is a compliment in this case, as opposed to past fodder like "Doom."

Shortly after the introduction, Columbus crosses paths with Tallahassee (Woody Harrelson), his devil-may-care foil. Harrelson was made for his oneliner-dropping, natural born zombie killer role. He not only gets some of the biggest laughs, but his character also relishes every chance he gets to crush skulls, resulting in some truly vicious action sequences.

Not long after Columbus and Tallahassee meet, we are introduced to two decidedly gun-loving sisters, Wichita (Emma Stone) and the younger Little Rock (Abigail Breslin). By now, the pattern of naming has become apparent. Each character is signified by his or her hometown, as opposed to a real name, for the purpose of not getting too attached to one another in the event someone gets a nice helping of flesh gnawed from his or her bones during the adventure.

Each of the characters is given time for enough backstory to make them relatable, but not too much to slow the film down. The group eventually forms a family of sorts, despite the girls' trust issues that enable them to take advantage of Columbus and Tallahassee's misguided views on women in the apocalypse. Wichita and Little Rock score just as many kills as the boys, and the comedic effect of a preteen girl who won hearts in "Little Miss Sunshine" just three years ago now wielding a rifle with deadly accuracy against throngs of rabid moving heaps of putrescence is completely delivered on.

As for our lovable, rotting villains, they are strictly of the new-school style of zombies. No longer content to simply shuffle along haplessly in search of their next meal, these undead are smarter than your average flesh hunter. They not only run, but also are capable of ambushing the survivors at their most vulnerable, quite literally catching people with their pants down, which leads to Columbus' wariness of restrooms and backseats.

Above all the drama of most recent films in the genre, fun is the name of the game in "Zombieland." A cameo halfway through the movie featuring a legendary comedic actor is the best surprise since Tom Cruise's role in "Tropic Thunder." Other reviewers have given his identity, but we'll leave it a secret for full effect.

If "Zombieland" has any shortcoming, it's that the film is too short. The old saying is "Always leave them wanting more" and the 81-minute run-time will leave many viewers clamoring for another scene of lighthearted but no less visceral mayhem. But then again, who doesn't want to further explore the fine art of undead destruction?

Escapism is "Zombieland"'s gift to moviegoers. In a year with no clear Oscar contender, it's refreshing to see a film sidestep the fray and go for sheer entertainment before the heavies come in to make us exercise the very same grey matter those pesky living dead crave so much.

8/10