Lightweight, idiotic and trashy – but not in a good way…
First with the positives; I got to walk on a red carpet last night! After picking up the tickets to the premiere from a tent just off Leicester Square Gardens, then seeing the hundred-odd people surrounding the red carpet, I then got to walk it! It was a pretty incredible experience. Although it was brief, and unsurprisingly no-one knew/cared who I was, it was a bit like walking on air. Perhaps more of a case of floating along than walking the red carpet. There was a brief Q&A before the actual screening of the film – with three of the main stars (Vin Diesel, Michael Caine and Rose Leslie) and director (Breck Eisner) which was also exciting – primarily as I can now say I was sat less than 20 feet away from Michael Caine. Now onto the less positive stuff; i.e. the film itself…
800-years-ago Kaulder (Vin Diesel) lost his wife and daughter to murdering witches. Determined for revenge/justice he joins a raid to destroy the Queen of the witches. Many of his peers die, but Kaulder does not. Kaulder is the last man standing in a face-off with the Queen, one which results in both of their apparent deaths. However, the Queen curses Kaulder in her last breaths to remain immortal – never to love and never to find peace. Now living in present day New York, Kaulder works with a religious sect to combat the thread of witchcraft. His liaison, Dolan 36 (Michael Caine), is one of his closest friends and about to retire leaving Dolan 37 (Elijah Wood) as his replacement. But when tragedy strikes, and Kaulder realises the Queen is returning, he must rely on help from the unlikeliest of people – a witch called Chloe (Rose Leslie).
Oh dear. Just, oh dear. This film is as good as its trailers (i.e a shambles). Again, as I have done with previous reviews, I will rely on bullet points to make my rant somewhat comprehensible.
- The Plot – Derivative and out-dated. During the Q&A the director boasted of the film’s originality; proud of the fact it is not based on a comic book/tv series etc. After watching the film, this appears to be a flawed statement. The narrative is far from ambitious or new. The plot twist is immensely vanilla. All of the dialogue is just exposition, telling the audience what has happened/what will happen next. The scene with Max in the bakery, and the conversation between Kaulder and Dolan 37 exemplifies this, with Kaulder actually saying to 37, ‘Did you understand any of that?’ This is purely for the ‘benefit’ of the audience, who are clearly being presumed to be of minimal intellect. Kaulder then ‘kindly’ explains it to 37/us. The actual mission Kaulder is on is both absurd and poorly-paced, drifting from one set piece to the next. The story itself is messy, and how it is told it unbearably flat.
- Gender roles – Who doesn’t love a casual bit of misogyny in their cinema? In a year that saw our silver screens graced with Imperator Furiosa (Charlize Theron) in Mad Max: Fury Road we have a film that returns us to the woman-as-sidekick/pretty face. Considering how fierce her turn as Ygritte in Game Of Thrones was, Leslie is ill-served here. Her character is a witch, dressed in black and with loads of jewellery (another tick for the lack of originality box). The character could have been given any career but no, Chloe works as a bartender. [Spoiler alert!] it gets burnt down at some point and she spends a good chunk of time blaming Kaulder, moaning that the bar was all she had. Clearly she had forgotten just how big her Central New York apartment is (a problematic feature of tv/film is giving broke characters unrealistically fabulous apartments – a topic for another time). She then spends much of the time in emotional turmoil and needing to be rescued. Her witch powers are the kind that requite her to sit still and go into people’s minds – disappointing considering she could have been scripted to instead kick ass with her powers or even be able to defend herself without his help. The fact Vin Diesel himself must be almost twice Leslie’s age, and his character about 775 years older, a suggested romantic subplot is both ridiculous and patronising. Why not hire an older actress if so insistent on partnering them off? The fact that her accent wavers from cut-glass to eardrum-slicing really doesn’t help her characters attempts at appeal.
- Vin Diesel – Kaulder is sad (blank expression and monotonal voice). Kaulder is being sardonic (blank expression and monotonal voice). Kaulder is being brave (blank expression and monotonal voice). Vin Diesel crosses the line from being hilariously bad in this role to being depressingly bad. His attempts at quips and banter fall flat without intonation and emotion. Vin Diesel in person has a great deal of charm but is so unconvincing in this with an incredibly wooden performance. Coincidentally you’ll spend the whole film waiting to boom the line, ‘I am…’ Character traits for Kaulder are heavy-handed added on – his predilection for watches to show that he’s deep and reflects of time because he’s immortal. He drives a fast sports car because he can afford one as he’s lived forever. He only sleeps with air hostess as he has a fear of commitment. All of these attempts at providing depth instead reveal how transparent the plot and its characters are.
- Direction – The special effects are so bland and unspectacular, almost sludgy in presentation. Even without advertising (which has a separate budget) this film cost $90 million to make. Where did it all go?
This film is not even entertaining to be ‘so bad it’s good’. It’s just bad. Bad and boring, which is an unforgiveable crime in cinema. Avoid.