In a follow-on to his piece about Hollywood’s trouble with zombie movies last week Elliot Harris writes:
Marc Foster’s adaption of the best seller World War Z is a better film than expected but not as good as it could have been. Despite release delays and stories of re-shoots; WWZ is a watchable summer blockbuster.
The film opens in the serene family kitchen of the Lane family where we are introduced to Gerry Lane (Brad Pitt), his wife Karin (Mireille Enos, Gangster Squad) and their children Rachel (Abigail Hargrove) and Constance (Sterling Jerins) hours before the Zombie apocalypse reaches their home city of Philadelphia. Having witnessed firsthand the devastating effects and rapid spread of the virus, Lane struggles to get his family to safety, fighting both the already and soon to be infected. Faced with cities and whole nations across the globe falling to the ravages of Zombie hoards, Lane reluctantly answers the call from his former employers for help. With no clear information on the origin of the outbreak, and only rumours to work with, Lane is dragged across the globe in search of the cause of and possible solutions to this global pandemic.
What transpires is a globe-trotting race against time with the future of the human race at stake. Starting with little information, and only a small team of crack SEALS, Lane and Harvard virologist Andrew Fassbach (Elyes Gabel, Welcome to the Punch) are dispatched to the site of the first reported Zombie outbreak. As time ticks down, Lane is faced with an increasing array of seemingly unanswerable questions and very few answers. This coupled with the logistical nightmare of trying to not only stay ahead of the infection, but catch up with its source in a world falling apart helps build the tension. The tension never quite reaches the crescendo that it promises and the resolution seems to come about more through fortune and luck than the result of a Holmes-like investigation that Lane set out on.
The film, while not the utter mess that many predicted, definitely has a number of problems and certainly fails to live up to the book that it’s based on. These issues range from the join-the-dots narrative to some suspect decisions in the film’s storytelling and casting of some of the minor characters. Evidence of the much speculated and forecasted flop have survived the cutting room floor. Despite these issues, and the near complete divorce from the source material (which is quite jarring at times), WWZ is not without its charms. The reshoots manage to complete a fairly logically, if totally open-ended ending. Based on the film’s takings to date and the standard sequels clauses in most actors’ contracts these days, you can likely expect the announcement of a sequel in the next few months. Hopefully, any sequel produced will be a little more truthful to the book.
While WWZ neither lives up nor even sticks to the plot of the book that it’s based on, it delivers a solid zombie film worthy of the genre.