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zombie's like booty meat
“World War Z” went through an enormous amount of rewriting and reshooting. Yet, despite some conventional passages and a soft ending, Forster and Brad Pitt, who is a producer of the film as well as its star, pulled the picture together. They also managed to reawaken in a large-scale movie the experience of shock, something that has been superseded, in
recent years, by digital slam and much whooshing from nowhere to nowhere. I’m not an expert on horror movies, but I know when my heart rate has doubled. “World War Z” explodes right after the opening scenes, in which we see warnings that things are going awry: news reports of feral animals and dead dolphins, roving mobs and rioters—the usual premonitory noise that opens any disaster movie. Gerry Lane (Pitt), a retired United Nations trouble-shooter; his wife, Karin (Mireille Enos); and their two young daughters, driving in the family S.U.V., get stuck in traffic in downtown Philadelphia. Suddenly, the street erupts: motorcycle cops whizz by, a garbage truck plows through the waiting cars, there’s an explosion up ahead, and people start running, terrified. The speed and the violence hit you like lightning. Then, gradually, in brief, searing glimpses, you see them: human-looking creatures, with disintegrating flesh and wild eyes, biting and mauling people and causing general mayhem. These scenes suggest how quickly a major American city can fall into chaos. But what’s causing the behavior? A viral outbreak?