Zombieland had no right to be as good as it is. With discount Michael Cera (aka Jesse Eisenberg) in the lead role and Woody Harrelson playing an angry Twinkie-hunting hard man – it was hardly set up to be a critical success but somehow Zombieland manages to be cool, clever and chock full of great moments.

Zombie movies on the whole have had something of a renaissance in recent years thanks to Shaun of the Dead, 28 Days Later and the TV series The Walking Dead. The previously maligned genre now attracts great writing and the zombie is no longer the B-movie trope it once was.

Zombieland was an unprecedented critical and commercial success raking in almost four times its $23.6m budget at the box office. The film is currently the second highest grossing zombie film of all time after World War Z. It's not just a great zombie film, it's a great film full stop. With a cast of five past and future Oscar nominees and future Deadpool writers Rhett Reese and Paul Wernick, the film had a youthful and fearless quality which was seen across all aspects of the film including the soundtrack scored by Grammy and BRIT award winning producer David Sardy.

Before 2009’s Zombieland, Sardy had a proven track record producing quality indie rock with award winning production duties on Oasis, Wolfmother and OK GO albums. Zombieland was a chance to take those years perfecting distorted guitars and put it into practice with a killer (excuse the pun) soundtrack. After an opening scene to set the story (Earth ravaged by Mad Cow/ Human/ Zombie disease) the opening credits are a slow motion depiction of the current state of affairs backed by Metallica's 'For Whom the Bell Tolls' - it's a visual sequence as doom laden and heavy as the music.

Sardy's first effort scoring a film was 2008's 21 and he used a glut of great indie tracks such as LCD Soundsystem's 'Big Ideas', Kasabian's 'L.S.F.' and MGMT's 'Time to Pretend'. He doesn't quite employ this tactic in Zombieland, instead opting for a more nuanced approach to his soundtrack. Using contemporary music can sometimes be a shortcut to creating false emotional connections (see 500 Days of Summer) but a sparingly used piece of pop music can bring out the best in a scene. A case in point would be the inclusion of Doves' 'Kingdom of Rust' as the motley crew finally reach their destination of Los Angeles. For a Northern band to soundtrack this moment is an odd choice on paper but the melancholic vocals match the tired mood perfectly.

When you save the day, kill some zombies and get the girl - you want a song to sum it up. 'Your Touch' by The Black Keys is all bravado and confidence, not quite the summation of all of Columbus' personality traits as Woody Harrelson's character Tallahassee points out: "Finally got to first base, not bad for a scrawny little spit-fuck." It's almost an ironic song choice with the get-the-girl scene being such a cliche but it's pretty damn good way to mark one of the film's many funny yet sincere moments.