Do we really need more zombie movies? Just as one is opening — the Nazi zombie flick Dead Snow — another gets a trailer: the zom-com Zombieland, starring Woody Harrelson, Jesse Eisenberg, Emma Stone and Oscar nominee Abigail Breslin. Also, according to the IMDb page, Bill Murray has a cameo as a zombie. After the brilliant Shaun of the Dead, there’s not much need for more zombie movies, especially humorous zombie movies, but I can’t help but be excited about this thing. Hopefully that tongue-in-cheek narration is heard throughout the movie and not just in the trailer, in which it’s employed hilariously.

Anyway, as entertaining as Zombieland looks, it’s certainly contributing to the potential over-saturation of the genre. Somehow, though, zombie movies aren’t as threatened, no matter how many examples are made, as some other types of movies. Vampire plots, for instance, are too common these days. And apocalyptic scenarios in general (which does include zombie stories) are excessively prevalent (today’s other most popular trailer is for Roland Emmerich’s destructoporn flick 2012, which also features Harrelson). Yet we always think most films would be better if they had zombies. The real question may be, then, do we really need more non-zombie movies?

Lets see what the film blogs have to say about this trailer after the jump:
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Is the end of the world nigh? It sure seems that way. Even if the economic situation wasn’t enough of a harbinger of doom, this swine flu pandemic is a sure sign of the apocalypse. Or so it would appear through the media attention. Yes, the outbreak is tragic, and it is certainly a serious concern. And necessary, non panic-inciting developments must be reported. But when we read about how the flu might affect the box office for X-Men Origins: Wolverine, the news coverage has clearly gone a little overboard.

We’re not saying that we should ignore the topic; in fact if there’s anything we’ve learned from Hollywood’s treatment of plots involving widespread disease and infection it’s that turning a blind eye and/or burying the story will come back to bite us on the ass (or any other part of the body that a zombie can sink its teeth into). But fearmongering isn’t helpful either. That’s another thing the movies teach us.

So, what do we do if we want to get out of this latest flu scare alive? We rent some films, and we learn how to survive from both the characters who endure and the characters who perish. Fortunately for you, we’ve already watched the films and are willing to share their lessons.
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Yesterday I wrote of the news that Wanted director Timur Bekmambetov is helming an effects-heavy adaptation of Herman Melville’s Moby Dick. It’s not entirely shocking, but it does still seem like a cruel joke. More specifically, it sounds like something Jasper Fforde would jest about in his Thursday Next novels. Of course, the news came just as I’m in the middle of Fforde’s latest, First Among Sequels, in which Pride and Prejudice is turned into a reality TV show.

Although I’m not exactly well read as far as literary classics go, I’ve been wondering what other revered books (particularly those in the public domain) could be reworked as potential summer blockbusters. Obviously, there are certain sci-fi, fantasy and adventure novels that work, yet the fitting fictions of Verne, Wells, Burroughs, Dumas and others are already fodder for cheap movies with lots of action and/or special effects. Therefore, I’ve tried to limit my choices to those books that aren’t such easy candidates for a Memorial Day weekend opening.

1. The Divine Comedy by Dante Alighieri

Dante’s epic poem has inspired a few films over the years, including the hugely successful 1911 silent L’Inferno, but it’s about time for Hollywood to bastardize the otherworldly tale with lots of computer-generated visuals. Maybe you’re thinking that What Dreams Come already made some attempt at this, and it failed at the box office. Sure, but it was still an awesome spectacle of a film. Now, think of something similar starring Will Smith as Dante. And some rewrites to allow for more fight scenes (yes, even in Heaven). The poem will be divided into a trilogy of films, of course.

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There’s always a moment of anticipation, of bristling, silent dread, in the great films about catastrophe. The bustle and noise of a film’s expository passages recede. Some of the house lights go out. A hush falls– and maybe even the crickets stop cricking. Don Delillo’s classic postmodern novel White Noise, far from a popcorn page-turner, nevertheless captured this sensation well: a prestigious college town menaced by a toxic cloud on its outskirts. We experience a grim awakening to distinctly modern terrors from the p-o-v of an insecure middle-aged professor and his over-educated, chatterbox family. Taunted by their equally motormouthed TV sets, this egghead clan reasons and dissembles its way around panic about as efficiently as a laborer shoring up a levee with paper towels.

Last week I witnessed a lot of folks reaching for the paper towels in New York City. At my day job, well-heeled co-workers and superiors fretted over their investments in the wake of a careening stock market but quickly cheered themselves up by noting that the financial panic was good for our company’s business (no, not pharmaceuticals or pawn brokerage). There was casual talk of pulling vast sums out of banks and stashing cash at home– then rumors about criminals, wise to this practice, going on burglary sprees in upscale neighborhoods. There was a lot of good humor, but it was definitely gallows humor.

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