WARM BODIES Family Movie Review

WARM BODIES Family Movie Review

WARM BODIES REVIEW (GRADE: A-)

Some things don’t sound good on paper: a romantic comedy with zombies, for example. Such a thing has only been attempted once before, with the brilliant Shaun of the Dead (which was rated R, but Comedy Central shows an edited version around Halloween) and in that case the characters were both living people. Warm Bodies, on the other hand, features a zombie falling in love with a human girl. It shouldn’t work: zombies are disgusting. Yet the execution is so perfect, the tone so marvelously balanced, and the symbolism (love and compassion can change our natures) so rich, that the film ends up being both moving and tremendously entertaining.


Based on the novel by Isaac Marion, Warm Bodies tells that story of a lonely zombie named R (Nicholas Hoult, X-Men: First Class) who provides a witty running commentary of the apocalypse inside of his head, even if outside he’s a lumbering, moaning cannibal. When he falls in love with a human girl (Teresa Palmer, I Am Number Four) he discovers the embers of compassion and decency stoked within him. Their romance is a slow-burn, of course (because what sensible girl falls for a guy who’s still rotting?), but their friendship awakens his humanity. Hoult does a terrific job nailing the nuances of his step-by-step transformation from undead corpse to living heartthrob, while Palmer gives her well-written character a charming and fully-formed performance to match.

Special mention must be given to Rob Corddry and Analeigh Tipton as the best friends of the romantic leads. Corddry is endearing and marvelously funny as a fellow zombie whose mind and soul lie buried deep within him, fighting to get out. Tipton, on the other hand, takes what could have been a one-note role and injects it with a great deal of personality. John Malkovich (Red) takes a break from weird and eccentric characters to play an overprotective father whose cold heart needs jump-starting as much as the zombies’ hearts do.

Writer/director Jonathan Levine creates a memorable post-civilized landscape and deftly employs familiar horror tropes in crafting an unconventional, but ultimately warm-hearted, romantic comedy. Though there’s a few plot holes and convenient coincidences, it’s easy to let these slide and enjoy the ride when the film’s this well done. Warm Bodies is scary enough to be thrilling, but it doesn’t revel in gore. Alhough it employs a macabre sense of humor, it’s ultimately a rather hopeful little love story that’s also a lot of fun.

CONTENT OVERVIEW: Warm Bodies is rated PG-13. There’s some moderate profanity and one f-word. Sexual content is minimal. A woman’s back is shown as she disrobes for sleep and we quickly see her bra strap and panties from behind, but otherwise there’s no sexual jokes or scenes. There’s some zombie-related blood (but far less than normal for this genre, as this film seeks a lighter tone). A zombie beats a man to death and eats his brains, but the actual violence and gore occur offscreen. A zombie peels the skin off of the bottom half of his face (bloodless), on his way to becoming a walking skeleton. Many of these skeletons are shot.

MESSAGES TO DISCUSS: The influence of love and compassion can change our natures from vicious to virtuous, from violent to compassionate (Alma 24:11-12,14; Alma 26:29-34).



CHRONICLE REVIEW (GRADE: B+)

What if a few teenagers suddenly got superpowers? Not virtuous and heroic teens raised in loving homes like Peter Parker, but average irrational teens that drive recklessly at lunch, get drunk at parties, will do anything on a dare, and are still trying to figure out who they are? This is the premise of Chronicle, a superhero (supervillain?) film that achieves an impressive scale on a moderate budget, all while telling a surprisingly gripping and character-driven story.

Three adolescents stumble upon a mysterious sinkhole which endows them with telekinetic abilities. The boys seem to fit one-dimensional stereotypes initially: the popular jock (Michael B. Jordan, Red Tails) the faux-intellectual (Alex Russell), and the tortured loner (Dane DeHaan, Lincoln). However, latent personality characteristics come to the surface when each are given too much power too soon. The arrogant bookworm displays humility and eventual heroism (sadly, Russell is a bit bland here and struggles with intense emotion). The jock surpasses his initial self-assured swagger, growing into someone who cares deeply about his unlikely friends.

The standout performance by far comes from DeHaan, whose troubled teen is torn between his better nature (exemplified by his good-hearted but cancer-stricken mother) and his personal demons (brought on by an abusive father). DeHaan nails the multiple layers of the character, making his spiral from conflicted, but decent, teen to narcissistic and destructive villain utterly gripping. While I like the Star Wars prequels, warts and all, screenwriter Max Landis and director Josh Trank give us a far more resonant “hero’s downfall” in one film than George Lucas mustered in three.

Speaking of Trank, this first-time director makes a major splash here, juggling multiple characters, a compelling story, and impressive action scenes with flair. He largely succeeds in pulling off credible visual effects on a low budget ($15 million, small change for a film of this scope), although occasionally they do seem a tad fake. Trank also displays a strong creativity in his use of the “found footage” format, intersplicing the boys’ footage with feed from security cameras, police video, camera phones, and video shot by an attractive female student who crosses the boys’ paths occasionally as she creates her video blog. As with most films of this genre, one has to suspend disbelief (the shots are a little too perfect, the camera wouldn’t still be running after certain events, etc). Also, as the boys’ mortality (they may be able to move things with their minds, but their bodies are still vulnerable) adds an element of real danger, it’s slightly disconcerting that the finale turns a bit away from the “realism.” No matter; these are minor complaints and Chronicle injects such daring new life into the superhero genre that it rises above them.

CONTENT OVERVIEW: Chronicle is a strong PG-13. It has one raised middle finger and consistent moderate profanity. There are a few sexual jokes from teens. One scene shows a teenage girl running away disgusted from a bedroom she’d entered with a teenage boy; she’s got goo in her hair and we see him with goo on his jacket (it’s later revealed to be vomit, but in the moment that’s unclear). Adolescents drink alcohol. Early on the teens use their superpowers for pranks and slapstick violence, but later one of them uses them to harm others, beating up individuals, electrocuting one, yanking another’s teeth out (with some blood), and throwing police officers and innocent civilians through the air. A father is verbally and physically abusive to his teenage son in several scenes.

MESSAGES TO DISCUSS: Overzealous and rigid application of a “survival of the fittest” mentality can lead to the complete dismissal of individual morality and compassion (Alma 30:17-18). Sometimes terribly cruel people start out decent (Alma 24:30); it is therefore important to turn no one away, but to welcome everyone with love and nurture the best in them (John 13:342 Nephi 26:23-283 Nephi 18:22-25).

 

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