Warm Bodies by Jonathan Levine

Warm Bodies by Jonathan Levine

 

 

In a post-apocalyptic zombie world, R (played by Nicholas Hoult), a zombie who is trying to cling onto his humanity, rescues human Julie Grigio (played by Theresa Palmer) from an zombie attack. The two form a relationship that offsets a sequence of events that might transform the entire lifeless world.

When Twilight first came out in 2008, there was a common critique going around that the day-walking glittering vampires depicted in the film were not true vampires. It was an interesting point that I had no answer for at the time, but it got me thinking a lot. Is it okay to change the rules for a movie monster? If vampires can walk during the daytime, does that negate the established rules for a vampire? If zombies can sprint after you, are they still technically zombies? And more so, within in it’s own narrative goals, does committing to the traditional definitions of a movie monster even matter?

Warm Bodies settled this question. We’ll come back to this later…

It is artful how much humanity they were able to inject into Nicholas Hoult’s lead zombie character R. They use every cinematic trick in the book including close-up reaction shots, going into his thoughts and dreams and even a witty dry voice-over device. Furthermore, R does something at the beginning of the film that would have easily lost the audience to care about him but yet the film still had me rooting for him and his romance with Julie.

I never could have imagined a love story being played from this angle. This film is very aware of this and proceeds to guide the audience by drawing from recognizable story tropes such as teen romance, zombie horror, apocalyptic science fiction and a fairy tale aesthetic. In this stir fry chop suey fashion, there is a genuine love story running as a thorough line but the story tropes are tossed around for laughs. It’s a fun experience as you see the film’s play on these different story tropes. I.e. “Oh, it’s the musical montage where they fall in love. Oh, he just did the thing that will make the girl go away! Oh, that’s how he’s going to win her back!”

On a side note, Rob Cordroy is funny as the comic sidekick. As this film is meant to be a parody of Twilight, it’s kind of funny how Theresa Palmer looks like a blonde Kristin Stewart.

So finally, does committing to the traditional definition of a movie monster matter? No, it does not matter. The key is setting up your monster to suit the goals of the story. In this case, it’s humanizing the lead zombie character and making us believe that someone might fall in love with him. The film takes its time to set up its own rules and slowly supports its goals like a well-written thesis paper. The creation of the Bonies (the zombies that are “zombie-er” than the “normal” zombies) is a smart idea and it fits rather neatly with providing a more evil, scarier embodiment to act as the antagonist. Yes, these filmmakers changed the rules, but justifiably so.

In the end, it works. I laughed plenty of times. It’s smart, knows its audience and very clear on it’s goals. Sitting in the theater, I heard separate ‘girl laughs’ and ‘guy laughs’ from different parts of the theater throughout the screening. And that’s a key thing about Warm Bodies, the tone is so mathematically tweaked to a tee that both the girlfriend and boyfriend can enjoy it as a date movie together. There is something fun to enjoy for everybody. Yes, even the horror purists too.

21 Jump Street by Phil Lord and Chris Miller

21 Jump Street by Phil Lord and Chris Miller

A pair of underachieving cops are sent back to a local high school to blend in and bring down a synthetic drug ring.

Confession: I have a very big soft spot for buddy cop movies and have seen way too many that is considered healthy for a normal bloke by civilized society. I like the setups, the witty banter, the themes of overcoming differences and looking inside the friendships and brotherhood between men. Some noteworthy examples of mine are The Hard Way, The Last Boyscout, Curry and Pepper (with Stephen Chow and Jacky Cheung), the Lethal Weapon series, Tsui Hark’s Double Team (no cops but it technically counts),  Die Hard with a Vengeance, Kiss Kiss Bang Bang… the list goes on. Even though it was probably for the better how things turned out, I was really rooting for Shane Black’s Lethal Weapon 5 script to be filmed. Yes, see what I mean?

Now with my bias established, on with the review…

First off,  I’m unfamiliar with the original show, all I know is how much Johnny Depp hated being on the show but it was where he did his 10,000 hours of honing his craft. The idea of cops going undercover as students seems like such a far-fetched and out-dated idea that it would only seem to work as a comedy. So the question is… does it work?

Suffice to say, it really does. I laughed a lot more than I expected with 21 Jump Street. In many ways this is what Cop Out failed to do. 21 Jump Street does do  the genre convention gags and references movies but unlike Cop Out does not focus the entire movie on them. The convention gags (I am not going to spoil any of them here.) are handled well with balance. It never goes overboard with its meta sensibilities and still manages to deliver surprises.

Jenko (played by Channing Tatum) and Schmidt (played by Jonah Hill) are two believably stupid characters. Stupid characters are a tricky act to balance writing wise so it was impressive to me how many gags they were able to get out of these two characters while keeping their stupidity consistent. Jenko and Schmidt start off as classmates, one is a jock and the other is a geek who both end up befriending each other in police school when they need each other’s strengths. That bromance story is something that I never really get tired of. Stupid characters are a tricky act to balance writing wise so it was impressive to me how many gags they were able to get out of these two characters while keeping their stupidity consistent. There is a decently written plot and it provides some nice twists and turns that genuinely surprised me. I’m going to spend the rest of the review mainly talking about the comedy writing

The time change between the present and the 1990’s is also addressed and 21 Jump Street does it in an interesting way: it addresses the idea of popularity and how it has changed since the 90s. Nerds (specifically hipsters) have become cool and jocks are out. It becomes the best gag in the entire movie and is the source of many of the best jokes. When the reversal of popularity dawns on Channing Tatum’s Jenko, he’s suddenly become the social outcast.

This is proof that you should never ever write anybody off because chances are they will find their niche and surprise you. This is the Channing Tatum’s greatest role yet and probably the best thing I have ever seen him in since Michael Mann’s Public Enemies. Tatum is doing a parody of himself and plays it absolutely straight to a cheeky level. He’s the good looking straight man hero, he knows it and the film knows it. As he gets more mad at being ostracized and left out by his nerd friend Schmidt, we laugh harder at him struggling and attempting to process that anger. A funny noteworthy scene is where Jenko enters a room and starts beating Schmidt with stuffed toys and humping him as he is on the phone with the love interest Molly (played by Brie Larson). There’s no dialogue, it seems like a friend messing with another friend but we get totally why Jenko is beating him. The fact that Schmidt is unaware makes it totally funny. 

There’s a trend of lazy writing going in comedies these days with the Judd Apatow movie trend, where he turns on the the camera and lets his actors improvise too often. Sometimes it works, sometimes it doesn’t but overall he relies on it too much. I’ve read a draft of the Funny People screenplay and it was clear that they just wrote down the gist of the scenes and improvised their way through shooting. I bring this up because it came very apparent to me that 21 Jump Street seemed it was really written by writers who stayed up late at night on expressos chiseling the right zingers.

The issue with improvised lines is that they draw a lot of attention to themselves because often the audience instinctually feels that the camera is lingering for something that’s not moving the story forward. Many of the comedic zingers in 21 Jump Street were throwaway lines and there is something very artful about them. Jokes come and just past by. You have to catch them or many of them will zip by. It was a more engaging experience that way and I found myself finding new funny lines on a second viewing.

I laughed throughout the entire movie (last movie where this happened for me was 2010’s Morning Glory) and still am currently quoting lines with friends. It was equally enjoyable on a second viewing and I actually noticed new things that made me laugh. I would recommend this to anybody but especially for anybody is a fan of the buddy copy genre.

Please sign me up for the sequel!