Just yesterday, I had the pleasure of being dragged to a showing of the relatively new theatrical release, “Warm Bodies.”
And by dragged, I mean not dragged at all, entirely willing, and despondently hopeful.
However, it was totally worth it. The movie, although seemingly bizarre and easily misjudged as campy and corny, is actually quite clever and original. Except if you’ve ever seen the lost 80s movie, “My Boyfriend’s Back,” in which case Warm Bodies just seems like a victorious copy-cat of a lackluster romantic comedy about a corpse. A romantic zomedy, if you will.
Because I don’t like writing reviews, I have compiled a list of 10 reasons to go see this movie right now. However, if you live in the New England area you should probably wait till Sunday, as there is snow and stuff.
1) John Malkovich is in it
2) Every joke that you want them to make, but you are afraid they won’t because then they’d be poking fun at themselves, they do.
3) My friend *Debby is convinced there will be a zombie apocalypse. If such is the case, this movie will help us prepare, as well as advise us on its defeat.
4) Analiegh Tipton is both adorable and hilarious.
5) You know you’ve always wanted to see a pretty girl and a zombie make out.
6) What do zombies think about? We no longer have to wonder.
7) Here we learn what happens when zombies progress from plain zombie, to MEGA ZOMBIE.
8) John Malkovich is in it.
9) How many zombies does it take to screw in a light bulb? No just kidding. That’s not a thing. However, you do find out why zombies eat people and what their favorite part of eating the brain is. Useful information.
10) It is not “Twilight” and Kristen Stewart is not in it.
There is truly no end to the number of routes to Zombieville and I’ve got two vague teasers to prove it. First, courtesy of Dread Central, an Israeli zombie flick. As if the Middle East didn’t have enough intractable problems.
And here’s an amusing behind-the-scenes trailer via Cinematical featuring Penn Jillette for the first movie I’ve heard of with, yes, cannibal zombie little people, though you won’t see any actual ravenous small folk in it.
With 124 make-up credits and 64 effects credits to his name so far, Greg Nicotero is one of the busiest and most respected make-up and effects professionals in Hollywood. Originally inspired to take up special effects after seeing “Jaws,” he broke into the business working for the legendary gore-effects maestro Tom Savini on zombie-master George Romero’s 1985 splatter opus, “Day of the Dead. ”
A few years later, Nicotero had decamped from Romero’s Pittsburgh’s to show-biz’s Los Angeles and formed the multi-award winning KNB Efx Group with friends Robert Kurtzman and Howard Berger. Aside from his intimate involvement in such effects heavy films as “Sin City,” “Kill Bill,” “Minority Report,” “Serenity,” “Spiderman 3” and, yes, “Ray,” Nicotero has also branched out into directing, helming the second unit on Frank Darabont’s “The Mist” and making his own short subject, a funny and endearing homage to several generations of classic movie monsters, “United Monster Talent Agency.”
When I met with Nicotero and last Summer’s Comic-Con, however, it was to promote the already highly buzzed new AMC series, “The Walking Dead,” which reunites Nicotero with writer-director Darabont in an adaptation of Robert Kirkman’s Eisner Award-winning comic book series. Premiering Halloween night, the show will be taking a more dramatic look at the cannibal zombie mythos originally created by George Romero in his 1968 “Night of the Living Dead,” combining slow-moving zombies with the kind of in-depth characterization and complex yarn-spinning that’s making the onetime “vast wasteland” of television into something more like the last refuge of classical storytelling.
There’s only one problem. I’m kind of scared to actually watch the thing. You see, much as I admire the craft of someone like Greg Nicotero, I’m not exactly the usual gorehound media-fan for whom the more, and more realistic, cinematic gore he can create, the better. There was no point in hiding it.
There aren’t many producers around these days whose name can help sell a movie or TV show, but Gale Anne Hurd is the rare exception. Probably best known as one of the co-creators of “The Terminator” franchise, Hurd has been an important player in numerous mega- or merely major productions, including both “Hulk” and “The Incredible Hulk,” “The Abyss,” “Armageddon,” “The Punisher,” and the underrated 1999 comedy “Dick,” which starred Dan Hedaya as Richard Milhous Nixon and a young Kirsten Dunst and Michelle Williams as a couple of teenagers who wind up bringing down a presidency.
Clearly one of the more hands-on producers around, Hurd is pleasant and businesslike when talking to a member of the show-biz press, but clearly has the gumption to deal with the biggest and most difficult of personalities, which is how I segue into the obligatory mention of the fact that she spent the part of the late eighties and early nineties being married to first James Cameron and then Brian De Palma. Moreover, she began her career working for one the most fascinating and effective producers in the history of the medium, Roger Corman, but more of that in the interview.
Still, nothing she’s done is quite like her current project, the zombie horror drama and comic book adaptation, “The Walking Dead.” The AMC television series, adapted from a series of acclaimed comics by Robert Kirkman primarily by writer-director Frank Darabont (“The Shawshank Redemption,” “The Green Mile,” “The Mist”) is currently receiving maximum exposure on the web. The publicity train was only just getting started when I spoke to Ms. Hurd at a mammoth new San Diego hotel adjacent to the Comic-Con festivities last summer.
I had typed my questions on my laptop, which I was afraid might be a little off-putting. So, after a quick greeting, I tried to explain why.
It’s been a weird day for me, and not only because I’m a politically junkie and my side sustained a bit of a loss today (if you don’t know what I’m talking, well, let’s just keep it that way). Still, the movie news beat never stops and there are certainly days when Hollywood makes a lot more sense than politics, relatively speaking. * It’s official and Nikki Finke has claimed another “toldja.” Newcomer Marc Webb of “(500) Days of Summer” will, it appears, direct the 2012 Spiderman reboot that’s been bandied about since Sam Raimi stepped aside from the now never to be filmed “Spiderman IV.” Even though, as I’ve made clear here several times, I’m not a particular fan of Webb’s feature debut, I think Anne Thompson‘s analysis is probably correct:
Webb’s “(500) Days of Summer” is a deliciously commercial hit movie: witty, breezy, defying romantic comedy formula while not straying outside the realm of accessible entertainment. That’s what studios want: that sweet spot between “original and fresh” and “accessible and commercial.”… He will be eager to prove himself on a big-budget VFX franchise, so he’ll do what he is told.
All she left out is the gift they’ve given us pun-crazed headline writers and bloggers because of Webb’s spider-suggestive last name. I guess Eric Nid was too busy on other projects.
* I don’t know why they waited until after Martin Luther King day to announce this, but a long-planned biopic on the single most effective civil rights leader in American history is underway, and veteran playwright and screenwriter Ronald Harwood is penning the screenplay with Steven Spielberg and Stacey Snider coproducing. The more recent films in Harwood’s long career include “The Diving Bell and the Butterfly” and “The Pianist.” His best known play, the semi-autobiographical “The Dresser,” was nicely filmed back in 1983. Harwood migrated to England from South Africa in 1951 and he’s proven himself a fairly able cultural chameleon over the years. I’m not sure it’s an inspired choice, but it’s not a a bad one. The tricky part now is choosing the director.
* Some time back, I was not thrilled to report that Danny Elfman’s orchestral score was being removed from “The Wolfman” and was being replaced by a not at all promising sounding, possibly synth-driven rock, score. Well, as I’m still kind of looking forward to the apparently trouble-plagued film, I’m happy to report that Elfman’s score is apparently back in. Yeah, I’m kind of a traditionalist about things like that. I don’t like to hear futuristic sounds with my 19th century gothic chillers anymore than I want chocolate syrup on my pizza.
* It’s probably not at all fair, but I can’t help but think of this concept as “Tim Burton’s ‘Wicked’.” * The zombie-centric romantic comedy (“zom coms”) is a subgenre that threatens to take over the planet, devouring us all. Latest to be bitten: “The Wackness” writer-director Jonathan Levine, so says Devin of CHUD.
* In China, Chow Yun Fat and the nation’s most venerated philosopher push out the Na’vi, writes Krystal Clark.
* Today we also had a trio of sad deaths of important contributors primarily to other arts whose work also impacted the movies film, singer Kate McGarrigle, and novelist Erich Segal famously of “Love Story” and less famously of “Yellow Submarine,” and mystery writer Robert B. Parker of “Spencer for Hire.” RIP all.
There was a time in this world when young people were frequently slightly ashamed of being bigger than average fans of horror, science fiction, fantasy, and especially comic books. I, personally, wasn’t embarrassed …and I paid a price. Those days may be over. In any case, the capacity crowd that showed up for Spike TV’s Scream awards, largely in costume and largely dramatically over- or under-dressed for a nighttime outdoor show after a very warm day, seemed more like club kids and less like the kind of uber geeks who become entertainment bloggers and film critics and stuff like that.
The Scream Awards are, in their fun/silly way, a big deal. Big enough to attract a good number of stars and even a few superstars like Tobey Maguire, Jessica Alba, Morgan Freeman, Harrison Ford, Johnny Depp and his living legend “Pirates of the Caribbean” muse, Rolling Stone Keith Richard.
I, however, am not such a big deal and was reminded of that fact when, prior to the show I found myself with the less fashionable members of the not-quite paparazzi on the “red carpet” (actually a checkered walkway) with my little digital camera and even smaller digital recorder device, wondering whether I’d really get a chance to ask a question of one of the super-famed folks, knowing that the only question I could think of at the time would be something in the nature of “What’s it like be the most notorious rock and roll star in the world, having your blood changed, and snorting your late father’s ashes?” That probably would have been inappropriate, especially if I asked it of Jessica Alba.
What actually seems to happen at events like this is that, if you’re a small-timer especially, most of the big stars either go through another entrance or walk right by you at warp speed. Meanwhile, folks who are a bit more anxious to meet the press find their way to you with the help of PR types. As an example, for about half a second, I was almost able to talk with actor Karl Urban, who did such a great job homaging DeForest Kelly while putting his own hilarious stamp on “Bones” McCoy in “Star Trek.” However, within a nanosecond he remembered he was in a big hurry and politely scurried off.
After a few odd reality show people I didn’t recognize, and the pretty young actress who assays the part of “Female Addict” in “Saw VI,” our first actual notable wasstatuesque model turned actress Tricia Helfer. Helfer is, make no mistake, a true superstar to TV sci-fi fans and is best known as Number Six, aka “the hot blonde cylon” on “Battlestar Galactica.” The actress appeared with her significant other, the owner of a British accent and a Giaus Baltar-style beard, but I’m sure that’s a total coincidence. I had a not terribly consequential discussion with her — lost because I apparently forgot to press the “on” button on my digital recorder. One would expect no less an effect from Number Six. UPDATE: Yeesh! As pointed out by my PH compatriot John Paulsen, the actress was actually Kate Vernon, who played the lady-MacBeth-like Ellen Tigh. It is true, all statueseque blonde women in shiny dresses look alike to me! My apologies to all concerned or unconcerned.