WARM BODIES softens the zombie genre

         With the hit zombie-thon of the Walking Dead, and Twilight fan-girls tossing their panties at Robert Pattinson, American pop-culture is embracing the undead subgenres like never before.  Hell, there’s even a network commercial, which implements a gory zombie theme. After the success of Shaun of the Dead (2004), which is a brilliant parody of Romero’s zombie trilogy, I didn’t think it was possible to poke fun at the undead and still remain fresh and original. Zombieland (2009) fared well, but the laughs were few and far between.  Now there’s Warm Bodies, a zombie romance geared toward teenage audiences.
       I was pleasantly surprised with the film’s endless charm. The story is a Romeo and Juliet spinoff—a modern romantic comedy between a 20-something zombie and the girl he’s protecting, amidst the zombie apocalypse.  I thought to myself, how can a PG-13 rated film about zombies still remain slightly violent and gory (which the genre calls for) without crossing the horror line? The director, Jonathan Levine, knows how to create a likable hero, even when we see him partake in a human flesh cuisine. Even then, there’s still an air of cuteness about a zombie named “R.”
       Nicolas Hoult began his career in About a Boy (2002), playing opposite Hugh Grant. It was a child performance full of energy and heart.  Now all grown up, actor Hoult conveys a strong likability through his zombie character’s dry humor, witty internal monologue, subtle spark, and most important, the various elements in his makeup. Yes, “R” looks like the undead—blue skin, black circles under his eyes, and blood dripping from his mouth. However, there’s a key element into bringing a pleasant appearance to this particular zombie. “R” can eat all the human brains he wants, but as long as his eyeliner accentuates his striking green eyes, teeth white and aligned, then it’s easier for teenage girls to melt and giggle. Surely, they’re not taking off their panties like they do for Robert Pattinson, but the British actor is slowly making a name for himself.
       For my money, I’d prefer an all-out, grotesque zombie hero, teeth rotten to the root. However, I understand that the target audience is teenagers, and for what it is, and how the story develops, Warm Bodies works unlike any other zombie riff. The story even reinvents the subgenre; new biological insight into the zombie race allows for a glimmer of hope for everyone.
       Although I found Warm Bodies to be an effective installment in the zombie fad, I’d rather spend the night with acclaimed horror filmmaker George A. Romero and his metaphorical Dead films. First off, the special make-up effects in Dawn of the Dead (1978) and Day of the Dead (1985) put CGI gore to shame.  Romero’s social commentary and satirical overtones in all three films, starting with Night of the Living Dead (1968), reflect the era in which they were made.
       I have a profound appreciation for the older zombie films, even the cheapie grindhouses, which made Italian filmmaker, Lucio Fulci, a cult favorite.  The writer-and-director of Warm Bodies makes a reference to Fulci’s Zombie (1979), which is a gross-out, borderline exploitation zombie picture. Lucio Fulci’s style is very cheeky and in-your-face—the audience is either delighted or repulsed by the unhurried gore effects. I’m the critic that’s delighted. It takes you back to a time when special make-up effects took place before your eyes, rather than created on a computer.
      If you’re not a fan of the zombie genre and squeamish when it comes to the undead, then the sweet humor and charisma of the two leads will make Warm Bodies a beguiling affair. The film is the first enjoyable, mainstream-flesh-eating comedy of the year. Bon appetite.

 *** (out of four stars)