Whenever there’s yet another addition to the well-trodden zombie sub-genre, there’s always a hope that it will at least try to bring something new to the table while still providing the base thrills that these types of movies offer. At the very least there should be lots of shuffling/running/sprinting undead chasing after people who are trying desperately to evade being eaten. World War Z certainly has that and then some.
The film basically throws out the plot of Max Brooks’ celebrated book, which tells of the titular war via interviews with the survivors, for a much more traditional narrative (much to the annoyance of fans). It centres on former UN worker and dad (Brad Pitt in struggling hero form) who one day finds himself and his family in the middle of a vicious and seemingly unstoppable viral outbreak. As he gets more information from his former co-workers he realises how much the virus has devastated the worldwide population and is then tasked with heading out to see if he can find out what caused it and hopefully stop it, leaving his family behind in the process.
This could have been an absolute disaster. With a production reportedly plagued with problems, including having to rewrite and reshoot the entire third act, and an ever-ballooning budget as a result, it’s a miracle that we’ve not only got a functioning film but one that entertains immensely. From the unique take on the zombie virus to the globe-trotting scale, it’s a pleasingly different zombie film than we’ve seen before.
It’s also effectively scary throughout when it needs to be. It’s true that the relatively mild age rating (at least compared to most zombie flicks) does hinder proceedings a bit, especially when it comes to actually showing the zombies attacking people – much of the biting is implied rather than shown in detail – but there’s a very nice handle on panic-stricken atmosphere and dare I say realism as to how people would likely react in such an unthinkable scenario. It’s a kind of natural disaster movie with zombies in place of extreme weather.
Never have we seen such ruthless and speedy zombies as these before (it also might be the first one to use “the Z word,” to quote Shaun of the Dead, in a serious way) and seeing them literally launch themselves at people, for example, is a sight to behold. Much of the large scale zombie attacks – when the camera swoops over large hoards clambering up and over one another to get over a wall for instance – is done with CGI and it could be argued that dampens the effect. However, it serves a purpose in this case for practical reasons (read: how exactly would you get actors in prosthetics to achieve the same visual?) as much as aesthetic ones.
It’s very much apparent that there was a lot of tinkering going on with the script (Damon Lindelof and Drew Goddard were the ones brought in to fix some major issues) and the point in which things were massively reshot isn’t exactly subtle. However, you can imagine just how disastrous the original final act was since they went to the trouble of redoing it. What they’ve come up with maybe ties things up a little too neatly in the end (while at the same time leaving things open for a sequel if this is as successful as they hope) but it nevertheless makes for a taut, well choreographed finale.
World War Z might not to be an instant classic and certainly isn’t what you’d call perfect but it’s impressive and rather relieving just how enjoyable the film has turned out to be when you consider the failure this thing could have been. It’s tame by zombie movie standards but the clue is in the title – it’s supposed to be showing the worldwide war between humans and the undead and not a gritty, up-close-and-personal account where every little gory detail is shown. Going in without any baggage and taking it on its own merits as a piece of blockbuster spectacle it’s actually an exciting, panicky thrill.
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At the end of World War Z, just as the credits began rolling, a gentleman, scratch that, an idiot spoke up from the back of the theatre exclaiming, “What? That sucked! The book was nothing like that! Booo!” I’m sure he scurried away back home, logged online, and began tweeting, posting, and blogging, furthering his rant. Much like my response to him at the theatre, I hope he receives silence in return.
It’s true, World War Z is nothing like the book. The book is told from the point of view AFTER the war. It’s a “historical,” account of what happened during the war. Rather than make a mockumentary with flashbacks, which would have been the wrong decision in my opinion, the filmmakers decided to put us right in the middle of the action.
When adapting a piece of literature it is impossible to bring every page, every paragraph, every nuance onto the screen. Some have come close depending on the material, but for the most part, they all have to take their own creative licenses. After all, it’s called an “adaptation,” for a reason, otherwise they would call it a copy or mimic.
Where World War Z works (that’s a mouthful) and where so many others fail is that just because the world slips into total and utter chaos, doesn’t mean that governments, military, and law enforcement agencies go away. Quite the opposite. If anything, these scenarios bring out the best of all of them. We see generals, UN delegates, and scientists trying to solve complex issues that they don’t know anything about. Rather than going into hiding, they act. Society doesn’t crumble. Bands of cannibals and leather strapped gangs don’t patrol the streets with necklaces made of teeth. People do what they can to survive, and the higher ups try their best to find a fast and effective solution.
At first, I thought the movie started too fast. How could something this violent and concentrated go undetected, but after a while I got it. The opening montage of news reports said it all. How many of us listen to everything we hear on the news? Exactly. So much goes undetected while we focus on issues that effect us immediately. It’s too late when the virus touches US soil. Not even social media can keep up with it.
As far as zombie movies go this one is pretty great. Though I think 28 Days Later takes the cake in terms of realism, in-camera effects, and sheer terror, this one holds its own. Brad Pitt plays a former UN investigator who is traveling with his family just as the zombie attack on Philadelphia unfolds. The film goes from 0-60 before you take a sip of your Coke. This is a fast paced, edge of your seat thrill ride led by one of the finest actors of this generation (Pitt’s acting ability is far too underrated and lost in the kerfuffle of tabloid news).
For those of you who stare at the ticket window debating whether or not to see a film in 3D or standard, you might want to spend the extra few dollars to see this one in 3D (I know it’s asking a lot, but maybe you can sneak some candy or a bottle of water to offset the concession stand price – deal with it). I tend to air on the side of “screw it, I want to see it in 3D.” Now not every movie NEEDS to be seen in 3D, hell there are really only a couple that absolutely have to be seen in all three dimensions (Avatar and maybe Life of Pi), but this one really surprised me. 3D is not about things jumping out at you, but it’s about layers. Luckily this film has both. Big chase scenes in Philly, particles floating about in South Korea, and tracking shots in Jerusalem make this one of the 3D events of the year. No exaggeration.
Like so many other summer blockbusters before it, civilization is on the brink of extinction and only a handful of experts can save us. What World War Z does that so many have failed is give us hope. Hope that humanity won’t dissolve into nothingness. In the face of sheer danger these fighters stand tall, take a deep breath, look the enemy in the eye, and say, “No.”