BRAD PITT'S NEW MOVIE 'WORLD WAR Z' IS A HIT

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THE GLORIOUS CORNER

 By: G. H. Harding
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Brad Pitt



Z GOOD --- We finally caught Brad Pitt’s World War Z last night and despite the heavy negative-buzz on the movie (which interestingly enough was far more widespread before its official release), we loved it. With shades of Terminator, District 9 and even, Blade Runner, echoing throughout, the movie works essentially due to the humanity of the star himself. Based on a book by Max Brooks (Mel’s son), and directed by Marc Forster, it starts out as much, much more than another zombie-movie. Some sort of pandemic has begun and is spreading exponentially throughout the world. 


Pitt, as ex-UN employee Gerry Lane is drafted in again and dispatched to find out the origins of the outbreak. The movie begins in Philadelphia, and visits such far-off locales as Israel and Egypt. The arc of the movie is huge and the filming top notch. Even the scenes where the infected seemingly scale a wall and appear in rapid succession is well done; however, you can see the struggle the filmmakers had in deciding whether to go full-blown zombie, or keep what they could of a serious, very real story. In several interviews regarding the movie, Pitt said that the aspect that first attracted him was indeed the wide spread palette of the movie and it’s very clear global message. The timing of a movie like this couldn't have been better planned.


Mireille Enos (The Killing; Gangster Squad) as Pitt’s wife delivers a great performance as well. Pitt has become much more than just another movie star; I doubt that without his vision and support whether this movie would have been made at all; it certainly would not have received the major caliber coverage it has. Early on, when Pitt and his family encounter another family in Newark, whose fate is sealed by a quick massacre by the infected; the young son from the family eventually joins up with Pitt’s. It’s done well and very effectively; but, I couldn’t help but think of the actor’s own family-business. 


A big favorite of ours David Morse, appears briefly as an ex-CIA agent, apparently imprisoned for trying to find the truth. The scene, all of five minutes, is terrific and telling. Israeli-actress Daniella Kertesz (as Segen) meets Pitt in Israel and is with him for the rest of the movie, delivers a terrific performance as well; first scared of him, but then coming to embrace his humanity. Several critics wrote that the last hour of the movie borders on the absurd (as it was shot much later than the first passage of the film), but, other than Pitt’s hair noticeably longer, I found it right in sync with the rest of the film. I must also mention composer Marco Beltrami, whose music throughout was outstanding. I expected far, far worse with this movie. Instead, I found it one of the prizes so far of a somewhat lackluster summer.



THE GREAT COMET --- Every summer here in NYC, there’s one show that purports itself as a hilarious take on one thing or another (and, they're all usually pretty well done); this summer’s winner bar none is a madcap take on Leo Tolstoy’s War And Peace, called Natasha, Pierre &The Great Comet of 1812. Set in a series of tents right under the NY Standard Hotel, you'd swear you were in some sort of turn of the century club in downtown Russia. 


It’s like a slightly absurd Technicolor dream of the book's main characters, Anatole, Sonya, Helen and Natasha. Written with true passion and verve by Dave Malloy, he’s concocted a madcap romp which reminded this writer of the antics from a 1963 movie called It’s A Mad Mad Mad Mad World (directed by Stanley Kramer). 


I must confess, the only thing I recall about first reading the book was its dire length, but, the action here is fast and furious; highlighted by Lucas Steele’s miraculous performance as the bad boy Anatole. Brittain Ashford as Sonya and Amber Gray as Helene, both seductively compelling. The performance are literally right in front of you and are all amazing. The costumes spot-on as well.


During the intermission, you have a brief meal and more drink, and somehow it all works. The accompanying program lists literally each-and-every move and song from the play; a wise move for the confused. We particularly enjoyed the performances of "Sunday Morning"/"Charming," "Letters" and "In My House."


I found it just a delightful romp and the perfect antidote to a hot weekend in NYC. The SRO-audience was packed with tourists as well as NYC-dwellers; and, everyone loved it on the exit. It’s on a limited-summer run, but catch it if you can.




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