Movie Review #675
Paramount Pictures & Skydance Productions present…
…in association with Hemisphere Media Capital & GK Films…
Studio: Plan B Entertainment – 2Dux² – Apparatus Productions – Latina Pictures
Distributor: Paramount Pictures
Country: USA – Malta
Spoken Languages: English – Spanish – Hebrew – Arabic
Directed by Marc Forster. Produced by Ian Bryce, Dede Gardner, Jeremy Kleiner, and Brad Pitt. Screenplay by Matthew Michael Carnahan and Drew Goddard & Damon Lindelof. Screen story by Matthew Michael Carnahan and J. Michael Straczynski. Based on the novel by Max Brooks.
Rated PG-13 by the MPAA – violence, disturbing content. Runs 1 hour, 56 minutes (Unrated Edition runs 2 hours, 3 minutes). Premiered in London on June 2, 2013; at Champs-Élysées Film Festival on June 15, 2013; and at Belgrade Blockbuster Review on June 18, 2013. Wide release in the USA on June 21, 2013.
Starring Brad Pitt, Mireille Enos, Daniella Kertesz, and James Badge Dale.
“Mother Nature is a serial killer. No one’s better. More creative. Like all serial killers, she can’t help but the urge to want to get caught. But what good are all those brilliant crimes if no one takes credit? So she leaves crumbs. Now the hard part, while you spent decades in school, is seeing the crumbs for the clues they are. Sometimes the thing you thought was the most brutal aspect of the virus, turns out to be the chink in its armor. And she loves disguising her weaknesses as strengths. She’s a bitch.”
–Andrew Fassbach (Elyes Gabel)
You know the story. I can think of a total of nineteen movies, plus TV’s The Walking Dead, that practice the same mythology as “World War Z”, and that’s without really thinking hard. Some call this very tale the “zombie apocalypse” genre. It’s basically a blend of creature feature and disaster movie elements.
“WWZ” wants to invent, though, so it’s not just “zombie apocalypse.” I give it points without hesitation for its desire to put this in war movie/Call of Duty context. The one problem it faces is that the “zombie apocalypse” genre is so specific, so established, so common, that we need significantly more time allotted in the film t adjust to something that seems brand-new. Unless you have absolutely no skepticism of the story–the “war on zombies”–it’s a bit of a trial to get through “WWZ” as a fluent film, unless you have a large bucket of popcorn to take your mind off the occasional dull spot. The film ends assuring us that this is “far from the end,” and in fact, it feels like part one of a continuous trilogy. Doesn’t this mean that director Marc Forster (“Stranger than Fiction”, “Quantum of Solace”) should have waited just a little while before assuming we get what to expect in a zombie-cum-war movie?
Part of me feels like there was initially more explanation that was snipped out. It’s as if Forster covered up the blank spots himself. What I’m getting at is that “WWZ” is well-written. Brad Pitt ever so naturally plays a father who wants to take care of his family more than anything else. Even if the set design looks suspiciously more like the Big Apple, Pitt’s character lives in Philadelphia as a UN employee, and when he’s called to action on day, he has to think of the world as if it were his family. In other words, his job is now to save the world, specifically from zombies. Any transition from these action sequences into the encompassing sentimental drama, or vice-versa, varies between sudden and nonexistent. However that may be, these two tones work great in separation. The drama features believable dialogue all around. We don’t hear the word “zombie,” for example, until the forty-minute mark, and Pitt’s family chats like an actual family. If there’s one thing severely wrong with the action here, it’s that it comes along way too soon–as earl as seven minutes. Everything else about the action, however, is flawless. Robert Richardson’s cinematography makes for most of the excitement. I actually applaud it for maintaining the PG-13 action movie imminent in the veins of “WWZ”, by deftly cutting away from anything that would seem, well, horrifying. A hand-in-hand employment of camerawork and editing (Roger Barton) operates effectively during the title sequence. That opening is a series of newsreels that use contrast between blurry and sharp snapshots to form the impending title.
“WWZ” is based on a satirical novel by Max Brooks. His dad’s Mel, by the way, and such is even more reason to think that this stern approach was practically a rewrite. The dramatic viewpoint was acceptable, but to be clear, I would have much preferred the satire. It’s so much easier to bring in “something else” for the sake of comedy. Brooks Sr. did it all the time. He wouldn’t just go into the historical details of the Spanish Inquisition, he’d bring in a musical number about it. I don’t doubt Brooks Jr.’s zombie book features a likably offbeat inclusion of war themes. I’m just not compelled to read it, because this movie adaptation’s all-too-serious approach doesn’t exactly make for a memorable story.
I can say it three times if this second time isn’t enough: “WWZ” does have some fun action sequences. These zombies are frantic. They truly are (as my friend’s father put it) “’28 Days Later’ on steroids.” There’s zombies throughout the movie, but to be honest, they really aren’t the primary focus of the movie until the climax. Most of “WWZ” is about Brad Pitt’s Good Samaritan character. If that’s what you’re truly seeking, might I recommend “Captain Phillips”, in which Tom Hanks plays a selfless man who will do anything if it means steering his boat and crew out of danger.
POSTSCRIPT: Am I the only one who is especially impressed when Brad Pitt doesn’t play an antihero? Am I the only one who thinks such is rare?
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