Starring: Nicholas Hoult, Teresa Palmer, John Malkovich
Directed by: Jonathan Levine (“50/50”)
Written by: Jonathan Levine (“50/50”)
Zombie movie purists beware. “Warm Bodies” will make your head explode.
Now, don’t get me wrong. Unique twists to the sometime tired genre are always welcomed. There are only so many underlying political issues George A. Romero can cover before things start to feel repetitious. So, when original zombie ideas like “Warm Bodies” rear their ugly heads, you can’t help but take a bite.
In the last decade, we’ve seen a masterpiece like “Shaun of the Dead” and solid comedies like “Zombieland” and “Fido.” These kinds of movies can be done and done very well. Unfortunately, “Warm Bodies” doesn’t rise past its quirky synopsis. It’s a zombie romantic comedy (zom rom com) at a loss for believable plot devices and consistent laughs.
The film follows a zombie named R (Nicholas Hoult), a somewhat self-aware young zombie male who isn’t really feeling his new lifestyle now that the world has ended by way of zombie apocalypse. His emo-esque internal monologue conveys his desire to connect with people again and express himself. A zombie, however, isn’t much of a conversationalist.
Things begin to change for R when he meets Julie (Teresa Palmer), a survivor who is ambushed by the undead during a mission to find medicine for the other humans living in a safe concrete compound. During the attack, R saves Julie and somehow persuades her through his moaning and grunting that she would be better off escaping with him instead of doing what any sane person would do and run away.
These are the kind of lazy plot holes that plague “Warm Bodies.” Although they allow the narrative to move forward, some of the script choices simply don’t make any sense. Why doesn’t Julie drive away in the car available to her at any point of the movie? Why can some zombies smell human flesh and others can’t? Why do some zombies run like the dickens and others move in slow-mo? “Warm Bodies” is bold in making up its own rules, but it should be labeled a cheater when it changes those same rules so the story can proceed.
The most shameful disregard for the screenplay comes with the fact that during R and Julie’s time together, R begins to change back into a human. Sure, that’s probably plausible in zombie world, but why do the other zombies who are unaffected by Julie in any way also begin to transform? Unless director/writer Jonathan Levine (“50/50”) is trying to make a point by saying that love, too, is infectious, it doesn’t add up.
While there are a few chuckle-worthy scenes between R and his best zombie friend M (Rob Corddry), “Warm Bodies” is more smart-alecky than it is smart. The combination of horror, romance and comedy might be less of an acquired taste than it was a few years ago, but this kind of fleshy meal just isn’t very appetizing without more substance. Brains, perhaps?