The film is based on Warm Bodies (2010), a novel by Seattle based writer Isaac Marion. Marion originally published the genesis of the idea as an 1800 word short story I am a Zombie Filled with Love that was published online (the original text can be found here Burning Building) and this attracted a publishing contract. The book was sufficiently successful that Marion put together a prequel The New Hunger (2013). The film adaptation has been taken up by Jonathan Levine, a young director who is gaining a slowly rising name with works such as the slasher film All the Boys Love Mandy Lane (2006), the Coming of Age film The Wackness (2008) and the acclaimed Joseph Gordon-Levitt cancer drama 50/50 (2011) and The Night Before (2015).
Despite a lack of enthusiasm for the films approach, I soon began to warm to Warm Bodies. It does a number of things that seem fundamentally incongruous it is trying to be a supernatural teen romance a la Twilight; the lead romantic figure is a zombie; it is also playing both the romance and zombie film angle as a comedy. Despite the number of juggling acts this requires, the film manages surprisingly enough to make its melange of ideas work for it. Some of Nicholas Hoults voiceover lines during the introductory scenes come across as straining a little too much in trying to go for laughs but once the film settles in, its premise comes with a droll amusement in the goofy scenes of Nicholas Hoult looking on as Teresa Palmer sleeps, she trying to educate him about driving a car and so on, and especially with some of the droll handful of lines that Rob Corddry gets. Moreover, the odd flaky romantic angle works for the film. Teresa Palmer plays with a winsome sincerity that holds more effort in a couple of scenes than Kristen Stewart seemed to be making throughout the entirety of the Twilight sequels.
The zombie film has become legion throughout the 2000s. A major revival was led by the successes of films such as Resident Evil (2002), 28 Days Later (2002) and the remake of Dawn of the Dead (2004). It was the hit of a small British film Shaun of the Dead (2004) that led the way to more of a spoof take on things. This led to a deluge of zombie comedies and/or sarcastic takes that crossbred the zombie film with incongruous things with the likes of Zombie Beach Party (2003), Hood of the Living Dead (2005), Dorm of the Dead (2006), Poultrygeist: Night of the Chicken Dead (2006), Z: A Zombie Musical (2007), Ninjas vs Zombies (2008), Zombie Strippers! (2008), Attack of the Vegan Zombies! (2009), Romeo and Juliet vs the Living Dead (2009), Stag Night of the Dead (2009), Big Tits Zombie (2010), Santa Claus vs. the Zombies (2010), Bong of the Dead (2011), Deadheads (2011), Abraham Lincoln vs. Zombies (2012), Cockneys vs Zombies (2012), Pro Wrestlers vs Zombies (2014), Zombeavers (2014), Scouts Guide to the Zombie Apocalypse (2015) and Pride and Prejudice and Zombies (2016).
Both the low-budget gore-drenched zombie film and the gonzo zombie film have felt conceptually exhausted in the last few years. The genre feels like it has become trapped in repetition and self-parody. It is some surprise then that Warm Bodies, which pitches itself more to teen/emo audiences than it does to zombie movie fans, manages to inject some new blood. Here we have a zombie film that tries to do something distinctly different with the genres ideas. It gives some original spins. There is the idea, building somewhat on the one introduced in Return of the Living Dead (1985), as to why zombies need to eat brains because they regard them as a delicacy and more so because it allows them to imbibe the memories of the former owner (which of course becomes the pretext for the film to offer up its unlikely romance Nicholas Hoult eats the brains of Teresa Palmers boyfriend and inherits his memories and feelings). We have seen the zombie relationship drama before in the silly My Boyfriends Back (1993), in the more recent, more comedic A Little Bit Zombie (2012) and the subsequent Burying the Ex (2014) and Life After Beth (2014) and approached seriously in Zombie Honeymoon (2004) and Make-Out With Violence (2008) while the more serious British duo of films from Andrew Parkinson, I, Zombie: A Chronicle of Pain (1998) and Dead Creatures (2001), tell stories where the lead character is a zombie. However, Warm Bodies goes one step further and offers up the novelty of a zombie film that is narrated in the first-person by a zombie.
The zombie film is largely one that is limited in terms of storytelling possibilities. The antagonists are either a horde of shuffling creatures with no minds or very rarely any speech. About the only stories available are those of surviving humans fending the zombie hordes off and struggling for survival, or else stories of how the initial outbreak comes to overwhelm society. Warm Bodies tries to do something different it asks, once we have the zombie apocalypse what comes next? This was a question that George Romero began to tackle in his latter zombie films like Day of the Dead (1985), Land of the Dead (2005) and Survival of the Dead (2009) where he saw zombies starting to regain memories of their old lives and the question emerging of whether the two species were capable of mutual survival, while zombie integration into society was tackled more comically at the end of Shaun of the Dead and more substantially in Fido (2006). Warm Bodies sees the zombies as slowly evolving into something that is becoming more human and eventually a mutual coexistence between the two species. Although the film is very vague about how this happens we get the impression that this spontaneously happened when the other zombies saw Nicholas Hoult and Teresa Palmer holding hands. The film also has to make a differentiation between the freshly dead (who seem immune to physical decay) and those who have lost their skeletons and are thus evil in order to give it a conflict. Nothing world changing, but it does become oddly appealing.
(Nominee for Best Makeup Effects at this sites Best of 2013 Awards).