It's worth sticking around for the coda too as it contains some hilarious and very politically incorrect suggestions as to how zombies might be put to work once they've been tamed.
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The New Yorker by Anthony Lane
Pegg co-wrote the screenplay with the director, Edgar Wright, and together they have fashioned a smart, cultish, semi-disgusting homage to the fine British art of not bothering.
A classic example of a clever idea that could easily have run out of steam halfway. However, co-scripters Pegg and Wright structure it as a classic three-acter (set-up, journey, finale) with enough twists, character development and small set pieces to keep the comedy boiling.
In this truly retro horror flick, the heroes and heroines don't just quip over the action (though they do get off some funny lines); they're knee-deep in it, and scared sh------.
Mixing horror and humor is no mean feat, but Shaun Of The Dead tightens throats in fear without making the laughs stick there in the process.
Entertainment Weekly by Lisa Schwarzbaum
The daffy, innately British joke that propels the cheeky U.K. comedy hit Shaun of the Dead is that although real zombies have risen up -- slacker wankers Shaun (Simon Pegg) and his best pal and roommate, Ed (Nick Frost), are too slack, wankerish, and blitheringly British to notice.
Village Voice by Michael Atkinson
The actors are all on target (particularly Penelope Wilton as Shaun's relentlessly cheery mum), and taken on its own shaky legs it's a wittier genre coda than "Abbott and Costello Meet Frankenstein."
Rolling Stone by Peter Travers
Blast of fright and fun.
'Shaun of the Dead' is a proper good zombie flick. Wright dials the British humor up to eleven in this homage to the zombie apocalypse genre and all of its tropes, creating seemingly as many endearing moments as there are grotesque, oftentimes both at the same time. The 'Don't Stop Me Now' bar scene is easily one of my favorite sequences within the admittedly limited genre of comedic horror.