The primary gist of World War Z follows humanity’s effort to quell the tide of immediate conversion that strikes without warning and leaves nothing but more adversaries in its wake. Forster, who let the Bond epic Quantum of Solace get away from him, is far better at orchestrating the big-budget excitement here while juxtaposing it with a carefully crafted levity that trumps the somber spectacle of last week’s Man of Steel. A harrowing jaunt into a ransacked New Jersey department store has a specific shot that would be any husband and father’s worst nightmare, and it’s followed up just as quickly by a scene of surprisingly ironic humor. This seat-of-your-pants escape is made more effective by the fact that we, the audience, are limited to Pitt’s point-of-view, never seeing more or knowing more than he does.
After an uninspiring title sequence, the audience is dropped into the perspective of retired UN investigator Gerry Lane (Pitt), who spends the film’s terrifying opening trying to get his wife ( The Killing’s Mierelle Enos), and daughters ( Sterling Jerins and Abigail Hargrove) out of a Philadelphia that’s quickly reduced to fireballs, stampedes and pedestrians moshing head-first into taxi-cabs. The word ‘zombie’ is rarely used in WWZ-amusingly, it’s been dropped in a pivotal email that gives clues to the spread of disease-but there’s no arguing that the chaos that erupts simultaneously around the world can be chalked up that now moldering, needs-to-be-cremated, genre staple. It’s not the cinematic zombie revolution rabid fans were looking for, but as a tasty big-budget monster movie, it does make for good fun. As quick and relentless as its antagonists, Forster’s film marks a first an almost family-friendly zombie thriller, that nimbly moves between big set pieces and trades up a final, massive fire-fight for a scene of quiet, deliberate creepiness. There are no sluggish, sloppy brain-eaters in World War Z, just a coldly lethal wave of ex-humanity, now writhing, running emissaries for whatever mysterious pathogen has ravaged their bodies.
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It’s also the tactic of the film itself, that wastes no time throwing summer movie audiences into an apocalyptic, globe-trotting adventure that bears little resemblance to its source material but finds plenty of time for Brad Pitt to smile generously while trying to save the world’s sorry ass. Bite and release that’s the new motive of the hungry undead in Marc Forster’s expensive adaptation of Max Brooks’ World War Z.
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