Z-O-M-B-I-E-S 4: Dawn of the Vampires

If you told me back in 2018 that a Disney Channel musical about a zombie football player and a cheerleader with a secret wig would spawn a sprawling, multi-species cinematic universe, I probably would have assumed you’d spent too much time in the chemistry lab at Seabrook High. Yet, here I am in 2025, sitting down for the fourth installment, Z-O-M-B-I-E-S 4: Dawn of the Vampires. I watched this on my laptop while my neighbor was very loudly practicing the tuba, and somehow, the discordant brass notes actually blended quite well with the opening synth-pop number.

There is something undeniably fascinating about how this franchise has survived the transition from the traditional Disney Channel era to the streaming-first landscape of Disney+. While other teen properties have folded under the weight of "franchise fatigue," Zed and Addison just keep adding more monsters to their contact lists. This time, the "kitchen sink" approach to world-building brings us Vampires and "Daywalkers," because apparently, werewolves and aliens weren’t enough to fill the Seabrook social calendar.

A Summer Trip into the Supernatural

The film pivots away from the high school hallways, opting for a road trip adventure that feels like a conscious effort to scale up the stakes. Milo Manheim returns as Zed with a level of effortless charisma that suggests he could probably play this role in his sleep at this point, though he still brings a genuine warmth to the undead athlete. Alongside him, Meg Donnelly’s Addison continues her evolution from a simple cheerleader to a sort of supernatural diplomat.

The plot kicks off when their summer travels land them in the middle of a territory war between traditional Vampires and the sun-loving Daywalkers. It’s a classic adventure setup—our heroes are the outsiders tasked with brokering peace in a strange land. Paul Hoen, a veteran who has directed more Disney Channel Original Movies than most people have seen, knows exactly how to pace these things. He keeps the momentum high, jumping from neon-drenched musical sets to high-speed chases through the woods. The "Adventure" label here isn't just for show; the film genuinely tries to capture that sense of discovery, even if the "undiscovered" locations clearly look like they were filmed in the most scenic parts of New Zealand or a very expensive soundstage.

New Fangs and Familiar Faces

What keeps this from feeling like a hollow cash-grab is the commitment of the new cast members. Malachi Barton plays Victor, a vampire with enough brooding energy to satisfy the Gen-Z crowd, while Freya Skye brings a spark to Nova that prevents the Daywalkers from feeling like a redundant addition to the lore. The chemistry between the two factions provides the necessary "peril" for the adventure, though we all know that in this universe, the musical equivalent of a sugar crash at a 9-year-old’s birthday party is usually enough to resolve any centuries-old blood feud.

The supporting cast remains the backbone of the series’ charm. Kylee Russell as Eliza and Chandler Kinney as the fan-favorite werewolf Willa provide the grounding necessary to keep the plot from floating away into total absurdity. The dialogue is snappy, self-aware, and perfectly tuned for the TikTok generation, acknowledging the ridiculousness of their situation without ever descending into mean-spirited snark. It’s a delicate balance: being a "contemporary" film means engaging with the current moment's obsession with identity and belonging, but doing so with a bright pink and lime green color palette.

Spectacle on a Streaming Budget

Visually, you can see where the Disney+ budget was allocated. The "Dawn of the Vampires" title isn't just marketing—the production design for the vampire lair and the Daywalker camps is surprisingly detailed. It leans into the "Adventure" genre’s requirement for wonder, creating a world that feels lived-in, even if everyone in that world has perfect hair and a professional-grade makeup kit. The choreography is tighter than ever, and while the songs might not have the "instant classic" status of the first film’s "Bamm," they are expertly produced pieces of modern pop that demand you tap your foot at least once.

However, the film does occasionally stumble under its own weight. By the time we get to the third act "greater threat," the screen is so crowded with zombies, werewolves, aliens, and various tiers of vampires that the central romance between Zed and Addison can feel slightly squeezed. At 86 minutes, the runtime is lean, but the "adventure" sometimes feels like it's rushing toward the finish line to make sure everyone gets their solo. Still, it captures that childhood sense of "what if every monster lived in my town?" that has made this series such a juggernaut.

In an era where we often demand our cinema to be either gritty masterpieces or high-concept art, Z-O-M-B-I-E-S 4 is a reminder that there’s a place for earnest, neon-colored fun. It’s a film that knows its audience and respects them enough to provide high production values and a genuine sense of heart. While it might not reinvent the musical or the adventure genre, it’s a solid addition to a franchise that has managed to stay relevant by simply being inclusive and impossibly upbeat. If you’ve been along for the ride since the beginning, this latest detour is a trip worth taking.