Horror Film Review: Warm Bodies (dir by Jonathan Levine)


Warm Bodies

I did not see Warm Bodies when it was first released back in February.  I was certainly aware of the film, having been bombarded with the trailer since December of 2012. and I assumed that I would see the film but, for whatever reason, I simply could not work up the enthusiasm necessary to actually see it.

Perhaps it was because the concept — a zombie love story — simply seemed too cutesy and, as much as I love zombie movies, they’re not exactly what I want to watch on Valentine’s Day.  The fact that the movie was being called a “zombie twilight” didn’t help.  (Don’t get me wrong.  The Twilight films are a very guilty pleasure of mine but that still doesn’t make the comparison a selling point.)

As a result, as much as I thought I would end up seeing Warm Bodies in the theaters, I never got around to it.  Instead, I waited until Warm Bodies premiered on Cinemax earlier this month to watch it and you know what?

I was surprised to discover how much I loved it.

Warm Bodies takes place after the zombie apocalypse has decimated America.  The undead wander through the ruins of society while the few remaining humans have barricaded themselves in a heavily guarded enclave.  Leading them is Col. Grigio (John Malkovich) who continually tells his citizens that the only way to survive is to kill every zombie that they see.  As Grigio explains it, the zombies may look human but they have no humanity left.

This would probably come as news to R (Nicholas Hoult), a zombie whose day consists of wandering around an airport, looking for people to eat, and occasionally acknowledging his friend M (Rob Corddry) with a grunt.  R spends most of his time thinking about how bored he is with being a zombie and wondering who he once was.  That’s one reason why R enjoys eating brains because, by doing so, R gets to enjoy the memories of his victims and, for just a brief few moments, he can know what it’s like to be human.

Things change for R when he and a group of zombies come across humans that are searching the city for medical supplies.  R spots one of the humans, Julie (Teresa Palmer), and finds himself immediately drawn towards her.  However, R is also shot in the chest by Julie’s boyfriend, Perry (played by Dave Franco, the younger brother of my beloved James Franco).  R responds by attack Perry and eating his brain, which causes R to experience all of Perry’s memories of Julie.  Now in love with Julie, R saves her from the other zombies and takes her back to the airplane where he makes his home.

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As Julie and R bond, R finds himself slowly becoming more and more human.  Yes, that’s right — the cure to the zombie apocalypse is love.  Now, that may sound predictable or simplistic and I guess it is.  But you know what?  I’m a romantic and I loved it!  It helped that both Palmer and Hoult have a really likable chemistry.  Even before R’s heart starts to beat again, they make a really adorable couple.

Unfortunately, the more R tries to act human, the more the other zombies want to eat him.  This is especially true of the Boneys, zombies who have decayed to the point of just being skeletons and who prey on anything that happens to have the slightest trace of a heartbeat.  Meanwhile, Julie’s father — Col. Grigio — remains firmly convinced that the only cure for zombification is a bullet in the head.

Though there are moments of horror in Warm Bodies (mostly involving the Boneys, who are genuinely scary), the film is mostly concerned with telling an audience-friendly love story.  As I watched the film, I occasionally found myself wishing that the movie has been directed by someone like James Gunn, who would have brought a bit more of a satiric bite to the film.

And yet, despite being occasionally frustrated by how (literally) bloodless the film was, I loved Warm Bodies.

What can I say?  It’s an incredibly sweet and romantic movie and, as much as its fashionable to be cynical, who can resist a good love story?  If anything truly elevates Warm Bodies above being just another supernatural romance, it’s the performance of Nicholas Hoult.  Even when he’s just stumbling around with a blank face and uttering meaningless groans, Hoult makes R into a likable flesh eater.  As sweet as the idea of love bringing life to the dead may be, it’s Hoult’s intelligent performance that makes both the idea and the romance feel real.

And that’s why I loved Warm Bodies.

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Horror On The Lens: Plan 9 From Outer Space (dir by Edward D. Wood, Jr.)


Plan_9_Alternative_poster

We have a few traditions here at the Shattered Lens.  Every Christmas, we feature Treevenge.  Every Halloween, we invite everyone to watch Night of the Living Dead.  And every October, we offer up Ed Wood’s classic plea for world peace, Plan 9 From Outer Space.

Enjoy!

Horror On The Lens: Cutting Class (dir by Rospo Pallenberg)


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it’s been said that, early in the career of every Oscar nominee, there’s a film or two that he probably wishes would be forgotten.  Today’s movie is one of those films, 1989’s Cutting Class.

Cutting Class is, in many ways, a fairly standard 1980s slasher comedy hybrid.  It features a stronger heroine than most and it does a bit of a better job than expected at making you guess who the killer is but, for the most part, Cutting Class is mostly memorable for being one of Brad Pitt’s first major roles.

The bad news is that the character he’s playing here is kind of an asshole and not even the fact that he looks like Brad Pitt can make him likable.

The good news is that Brad Pitt has always been hot.

And here’s the proof…

Horror On TV: Twilight Zone 5.19 “Night Call”


In this poignantly haunting episode of the Twilight Zone, Gladys Cooper plays a lonely widow who starts to receive mysterious phone calls from a stranger.

This episode was written by Richard Matheson (and based on his short story Long Distance  Call) and it was directed by Jacques Tourneur.  Tourneur is probably best known for directing moody horror films like Cat People and Curse of the Demon and he brings a similar atmosphere to Night Call.

Night Call originally aired on February 7, 1964.

Horror On The Lens: Manos: The Hands of Fate (dir by Harold P. Warren)


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I, Zombie, yesterday’s film, was pretty dark.  So, for today, let’s lighten things up with a horror film from 1966 that some people consider to be one of the worst films ever made.

I am, of course, talking about Manos: The Hands of Fate.

Manos deals with an angry middle-aged man named Michael (played by the film’s director-writer-producer, Harold P. Warren) who, after driving for an eternity through west Texas, ends up stopping off at a motel.  At the motel, he meets an odd fellow named Torgo (John Reynolds, who sadly committed suicide immediately after filming Manos).  Torgo works for a mysterious figure that he calls “The Master” and it quickly becomes obvious that the Master wants to add Michael’s wife and daughter to his harem.  Most people would probably react to all of this by just getting in their car and driving somewhere else.  However, Michael is kind of stubbon and stupid…

As I mentioned at the start of this review, Manos has a reputation for being one of the worst films ever made.  This may be true but it’s also compulsively watchable.  This is one of those films that is so extremely (and, often times, unintentionally) strange that you simply cannot look away.

One final word in defense of Manos.  Manos was written, directed, and produced by a fertilizer salesman from my great home state of Texas.  The cast was made up of community theater veterans.  Next to nobody involved with Manos ever made another film.  And yet, Manos will be remembered long after you’ve forgotten the title of the last film made by Michael Bay.  You can keep your boring, well-made films because there will always be a place in my heart for Manos: The Hands of Fate.

(Add to that, the film’s title translates to Hands: The Hands of Fate and who can’t appreciate that?)

Horror On TV: The Unaired Pilot of Buffy the Vampire Slayer


When I first decided that I wanted to devote some of October to horror-themed television, I knew i wanted to feature a few episodes of Buffy the Vampire Slayer.  After all, Buffy is one of the most acclaimed and influential shows of all time.  On a personal note, the show started when I was 12 and it ended right before my senior year of high school.  As a result, Buffy was a show that I watched during some of the most emotionally turbulent years of my life and, as a character, Buffy Summers was the type of role model that I needed.

However, what i quickly discovered was that there really aren’t any full length episodes of Buffy on YouTube.  There’s plenty of fanvids.  There’s a lot of music videos featuring clips of Angel and Buffy staring soulfully at each other.  But, because of copyright issues, there aren’t any full-length episodes available on YouTube.

However, there is the unaired pilot.

This was a 30-minute “sample” episode of Buffy the Vampire Slayer that was written and directed by Joss Whedon in 1996.  The episode was never meant to be televised.  Instead, it was a tool that Whedon used to pitch the concept of Buffy to the networks.

So, since I couldn’t find Hush on YouTube, here’s the 1996 unaired pilot of Buffy the Vampire Slayer.

Horror On The Lens: I, Zombie: The Chronicles of Pain (dir by Andrew Parkinson)


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Today’s movie is one of the darkest zombie films ever made.

First released in 1998, I, Zombie tells the story of Mark (Giles Aspen), a likable doctoral candidate who, while on a field trip, comes across a young woman trapped in a shack.  Mark rescues the woman but, as he carries her to safety, she suddenly bites him in the neck.  As you can probably guess from the title, this bite leads to Mark becoming a zombie.

However, as opposed to what we’ve seen in other zombie films, Mark transformation is a slow process.  It starts with Mark realizing that his wounds are not healing and that he has suddenly started to have cannibalistic urges.  Realizing that he’s doomed to become a zombie, Mark cuts off all contact with his girlfriend and instead tries to isolate himself from the world.  The rest of the film follows Mark as he clinically observes the decay of his both his body and his mind.

To say that I, Zombie is not an easy film to watch is perhaps the highest compliment that you can pay it.  Whether one interprets the film as a metaphor for addiction or just as the ultimate acknowledgement of the body horror that rests at the heart of the zombie genre (and I think both interpretations are valid), I, Zombie is one of the best zombie films ever made.

6 Horrific Trailers For A Horror Month


Hi!  Welcome to the first October 2013 edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers.  This month, of course, is horror month and therefore, all of October’s trailers will be taken from the horror genre.

Today’s edition starts with a Mummy, finds some room for Dracula and Karen Black, and ends with Frankenstein.  Enjoy!

1) The Mummy (1959)

2) The Mummy’s Shroud (1968)

3)  The Scars of Dracula (1970)

4) Fangs of the Living Dead (1969)

5) The Pyx (1973)

6) Frankenstein and the Monster From Hell (1974)

What do you think, Trailer Kitty?

Halloween Trailer Kitty

Horror On TV: Hammer House of Horror Ep. 3 “Rude Awakening”


Originally broadcast in the UK on September 27th, 1980, this episode of Hammer House Of Horror deals with a sleazy real estate agent (played by Denholm Elliot) who finds himself besieged by dreams about seducing his assistant Lolly (Lucy Gutteridge) and murdering his wife Emily (Pat Heywood).

Featuring an outstanding lead performance from Elliot and strong direction from Peter Sasdy, this is a good one.

Horror On The Lens: Invasion of the Saucer Men (dir by Edward Cahn)


Invasion of The Saucer Men

The poster above pretty much epitomizes everything that I love about old B-movies.  Between the aliens and the poster’s promise that we’re being given the chance to “SEE (the) night the world nearly ended…!,” it’s hard to resist the temptation to give Invasion of the Saucer Men a chance.

First released in 1957, Invasion of the Saucer Men is, in many ways, a standard alien invasion film.  Aliens land in a small town and cause a lot of inconvenience for a bunch of all-American teenagers who are just looking for a place to make out.  What sets Invasion of the Saucer Men apart is that it’s meant to intentionally humorous and the aliens totally kick ass.

So, here is today’s edition of Horror On The Lens: Invasion of the Saucer Men!