Isaac Marion’s tale of the undead learning to love again is given the big screen adaptation in Jonathan Levine’s latest.
Nature abhors a vacuum and with the Twilight franchise officially staked through the heart, there is the danger that this could be an early replacement. However, Warm Bodies has something that was never present in the tales of glittery vampires and werewolves; humour. Warm Bodies is aware that this is a bizarre concept. They make no illusions to the fact that R the zombie falling in love with apocalypse survivor, Julie, is normal. The film just wants to share its story and hope you’re in it for the long run.
Nicholas Holt gives a strong performance as the aforementioned R; a zombie whose overactive brain is beginning to question his place in this new fetid world. His animated running commentary is in perfect contrast to the slack jaw glaze that’s his face. Teresa Palmer as the object of R’s milky eye, Julie, is equally strong, but there’s just not enough made of her relationship with her father (John Malkovich) and quite why he’s such a miserable bastard.
There’s also the issue of the film’s antoganists, The Boneys; a gang of uber-zombies who don’t discriminate between the flesh of the living and the undead. With some ropey CGI, they don’t really come into play until the final act and when they do, it almost doesn’t feel right within the constraints of the film.
Despite the obvious teen demographic slant given to the original source material, Warm Bodies will still delight the zombie aficionado with head nods to Romero, Fulci and even Danny Boyles. Warm Bodies, if not the greatest zombie film in the world, is still a fun picture and perfect for any budding horror-philes to cut their teeth on.