World War Z Takes Zombies to a New Level

Brad Pitt has gone from youthful sex symbol to versatile actor and producer. His biggest project to date is this filmic adaptation of Max (Mel’s son) Brooks’ novel, World War Z, chronicling a massive, worldwide zombie apocalypse. For a subgenre that has ranged from classic horror, (Night of the Living Dead), to science fiction, (Resident Evil), to modern updates, (Dawn of the Dead remake), and parodies, (Zombieland and Shaun of the Dead), this film represents a rare depiction of the zombie invasion as a global, mass annihilation. Previously, these films focused on a small group of survivors (TV’s The Walking Dead) with a news blackout and no idea as to the magnitude of the infection. After publicized problems with the screenplay and director Mark Forster’s (Monsters Ball, Finding Neverland) rough cut (particularly a climactic battle scene), a new ending was shot, and the result is a remarkably engaging film. 

Gerry (Brad Pitt) and his wife, Karin (Mireille Enos), ready their two daughters for school and get caught in a traffic jam in downtown Philadelphia. Suddenly all hell breaks loose and panic sets in amid an invasion of zombies who are bent on mindlessly attacking and converting humans into the undead.  As cities fall worldwide, the infection spreads exponentially with startling speed as the family flees to Newark for supplies and a lifeline from Gerry’s former UN boss, but while the family finds a brief refuge aboard a US Navy ship, Gerry is called into service to find the source of the infection or risk having his family kicked off the ship as non-essential personnel.  Tracking down random clues across the globe in such disparate locales as South Korea, Israel, and Wales, the trail for a cause and potential cure proves challenging as time runs out on humanity. 

In many ways, this film, which shares much in common with pandemic tales as Contagion, Outbreak, and The Andromeda Strain, is more a thriller than horror, and that’s not a bad thing.  Rather than relying on gross out murders and graphic blood spattered effects, this film looks at the bigger picture without sacrificing the more intimate moments of sheer terror, not an easy balance.  Don’t let that PG13 rating fool you!  Some scenes are suspenseful and agonizing as the threat of zombies is ever present. 

The film, particularly in the Newark apartment scenes and an unbearable moment of truth at a World Health Organization lab, is like one big funhouse ride where the scares are just around the corner.  Other memorable set pieces include the opening pandemonium in Philly, which is well crafted and builds to an alarming level, a walled in city of Jerusalem stunningly challenged by a growing sea of undead, and perhaps the best moment, a horrifying passenger plane flight from hell that starts innocently enough but quickly devolves into an impossible situation.

The film takes the scary notion of fast running zombies from 28 Days Later and adds even more lethal traits as in their ability to not only swarm like insects, but to hurl themselves with great ferocity at their intended victims even through car windshields.  Their victims aren’t devoured as in other films, but rather a bite turns them into more zombies almost instantaneously.  They are also real sensitive to sound as Gerry learns at the worst possible moment.

What distinguishes this film above most others is its smarts.  The script, while written by many hands, still shows an intelligent approach to a devastating crisis, and the dialogue never sounds phony.  Further, the film is like one big mystery with nature’s clues in full view waiting for Gerry to piece together a solution.  Some of the plot points are a bit open ended and push the limits of plausibility, but things move so swiftly and convincingly, that most won’t mind.    

The supporting cast is effective in brief roles with a strong turn by Daniella Kertesz as a soldier.  But this is Pitt’s show, and he is the right leading man who has the presence and charisma to carry even a zombie film. Being able to improvise and display cool under pressure, he is the ideal savior that the world needs.  Perhaps his Gerry is guilty of being too perfect, but he does it so well.

(It is amusing to note that Gerry and his family become guardians of an orphaned boy, and one wonders if Angelina Jolie was smiling at the parallels with her and Pitt’s real life, nuclear family.)

With a mega-budgeted production, the CG effects are a standout especially when creating the hoards of zombies, and there are many effective camera shots with some particularly startling, overhead views.  There is also great use of sound effects that add to the visceral chills while the brooding, pulsing music score (Marco Beltrami) complements the tension. 

A thrill ride from beginning to end, World War Z is a thoroughly entertaining, scary epic that takes the zombie lore and heightens the stakes with an impressive budget and a star turn by an actor/producer at the top of his game.   

*** ½ of **** stars (subtract ½ star for non-zombie/pandemic enthusiasts)

 

Man of Steel Sets the Stage for New Adventures

DC Comics has rivaled and preceded Marvel Comics for many decades with its roster of super heroes and is now attempting to reestablish their greatest character, Superman. Having been previously depicted in movies and television, Man of Steel is the biggest production to date.  Is it any good, and is it better than Superman Returns?  Yes and yes.  Despite a darker tone, (courtesy of the creative tandem of producer Christopher Nolan and writer David Goyer from The Dark Knight films and director Zach Snyder of Watchmen), this adventure is an entertaining action piece with a deep psychological subtext. 

The planet Krypton is dying, and scientist Jor-El (Russell Crowe) and his wife Lara launch a spacecraft to send their newborn son, Kal-El, to a promising world, Earth.  General Zod (Michael Shannon), whose attempted coup is thwarted, is banished into a wormhole.  When Krypton is destroyed, Kal-El lands on earth, and through a series of flashback vignettes, we see the school boy named Clark struggling with growing pains and the values instilled by his adoptive human parents, Jonathan and Martha Kent (Kevin Costner and Diane Lane)  who try to hide his superhuman strength and abilities.  As an adult, Clark (Henry Cavill) takes a series of jobs and remains anonymous, off the grid until odd reports begin to circulate of a mysterious man who saves lives with remarkable powers which brings reporter Lois Lane (Amy Adams) hot on his trail.  The setting shifts from the cornfields of Midwest America to Metropolis.  As General Zod reappears to claim earth for his race, the stage is set for a grand battle with the fate of the world in the hands of a true blue hero.

There are some fine moments such as the young Clark befriending a former bully and being repaid in kind.  There is the tornado scene that brings Clark’s non-use of his powers to a turning point.  Later, when the military first meet Superman and question his intentions, he responds by rescuing scores of people and is vindicated in a touching moment. 

This Superman (with more than a passing parallel with Jesus) is depicted as an emotionally vulnerable soul, and although he possesses great powers and invincibility, he does feel pain especially when meted out by his own kind.  The whole film is ultimately a moral struggle and contrast between two fathers and whether their son’s powers are meant for good or to be kept hidden no matter what the cost.  It’s also about his personal journey to find his purpose amid a normal life and search for his origins.  Can he embody the best of both worlds, and to what lengths will Superman go to save humanity? 

Cavill is quite convincing as Superman, certainly an improvement on Brandon Routh’s turn in Superman Returns.  Adams shows a thoroughly capable yet vulnerable Lane, a strong reporter and Pulitzer Prize winner to boot!  Her scenes with Superman work quite well especially in the quieter, intimate moments which one hopes will lead to much more in future installments.

The supporting cast excels.  Crowe lends gravitas to a subordinate role, and he registers every time he appears. Diane Lane is good as the compassionate Momma Kent.  (Ironically Lane starred in Hollywoodland about TV’s Superman, George Reeves).  Costner makes a strong impression as the resolute, adoptive dad who is willing to risk his life for a principal.  Laurence Fishburne is a more three-dimensional Perry White, and Christopher Meloni is effective as a hardnosed military commander.

Special visual effects have come a long way since 1978’s Superman when the slogan was, “You’ll Believe a Man Can Fly!” Some of the effects show incredibly fast motion which makes you wonder how cool it would be to realize such DC Comic characters as The Flash.  While Hans Zimmer has the appropriate, heroic musical score in place here, John Williams truly memorable theme song is a hard act to follow.

The action is not the cartoon variety; people do get hurt and some perish.  Regarding that final battle in the streets of Metropolis (previously depicted in Superman II), enough already!  We’ve seen The Avengers decimate New York City and The Transformers wreak havoc on a massive scale.  These scenes are becoming old hat (even in a post 9/11 world), and are starting to seem repetitive overkill.   Don’t get me started on the obvious product placement; when it begins to be noticeable, it becomes annoying.    

Perhaps the only disappointment here is the lack of much humor or lightheartedness. There are a couple funny moments; the film could have used a few more.  One hopes a lighter tone is in store for the next chapter. Maybe we will see Lex Luthor and Jimmy Olsen who are both missing here. You barely see Clark Kent get his gig at The Daily Planet before the credits roll.  Oh, and contrary to the Marvel films, do not bother staying through the credits in hope of a post credit tease.  The film’s greatest accomplishment is setting a strong foundation for the next Superman adventure and possibly the beginnings of a Justice League of America (emulating Marvel’s The Avengers).  Wouldn’t that be cool?

*** of **** stars (Super hero fans add ½ star)