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Review – Assassin’s Creed (12a) [2016]

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Star Rating: 2.5/5

Director:

  • Justin Kurzel – The Snowtown Murders, Macbeth, Haven

Cast:

Music Composer:

  • Jed Kurzel – The Snowtown MurdersThe BabadookSlow West, Alien: Covenant

Films based on video games have not been well received, historically. Super Mario Bros, House of the Dead and BloodRayne were atrocious; Street Fighter was rubbish, even if it had moments of unintentional hilarity; while Warcraft was bad, but tolerable mainly due to the visuals. This raises two questions: one, can video games be successfully adapted into movies? And, two, could Justin Kurzel, reuniting with his Macbeth co-stars Michael Fassbender and Marion Cotillard, buck the trend of bad video game adaptations with Assassin’s Creed?

Rikkin (Jeremy Irons, left) telling Cal (Michael Fassbender) about the purpose of his institution.

Rikkin (Jeremy Irons, left) telling Cal (Michael Fassbender) about the purpose of his institution.

Assassin’s Creed is based on the video game franchise of the same name. The film goes back and forth between fifteenth-century Spain and the present day. Cal (Michael Fassbender) is a descendent of Aguilar de Nerha, an assassin in 1492. He is recruited by a scientist, called Sofia (Marion Cotillard), who needs him to go into a machine and become his ancestor. That way, they can discover what happened to the Apple of Eden. For the Apple was the source of sin in the world and, with it, Sofia and her father, Rikkin (Jeremy Irons), can rid the world of evil. The only problem is that the Knight’s Templars stand in their way…

Assassin’s Creed has a lot going for it. The CGI is very good. Justin Kurzel has done his homework with regards to what Spanish cities looked like in 1492, so the art and architecture are fantastic. Michael Fassbender puts in an admirable, physically-demanding performance that Jason Bourne would be proud of. And the film is full of fight scenes and action sequences that are well choreographed.

Yet, for all the above, Assassin’s Creed is boring and head-bangingly silly. The storyline makes no sense (not that it was ever meant to) and the movie has a superfluous amount of overly long (and amateurishly sped up) fight scenes. Indeed, the film has so much action, one wonders if the fleeting bits of (incoherent) dialogue are sprinkled in here and there to give viewers respite before the next action sequence begins.

Cal in the machine that connects him to his ancestor, Aguilar.

Cal in the machine that connects him to his ancestor, Aguilar.

Furthermore, the performances of Marion Cotillard and Jeremy Irons leave a lot to be desired and both deserve their Golden Raspberry nominations. Cotillard, at least, looks like she is trying (at times), only to be let down by the nonsensical script. Irons, on the other hand, is just going through the motions. His laziness is on a par with Liam Neeson in Battleship, which means Irons is in Assassin’s Creed solely to pick up the cheque and visit some historic locations while he’s at it. (Come on, Irons, you can do better than this. You have won an Oscar, voiced Scar with banal menace, and earned yourself a golden globe nomination for your portrayal of Pope Alexander VI as recently as 2012. Put in some effort for heaven’s sake.)

Nevertheless, as bad as Irons’ acting is, Jed Kurzel’s music is worse. God knows why, but he decided against using Assassin’s Creed’s awesome video game theme tune for the film. (Seriously, it is so awesome DB Weisz and David Benioff used it as background music for the second trailer for Game of Thrones, Season Five.) No, instead, Jed Kurzel has written an awful score that is so loud it cannot be heard and gives one a thumping headache. Plus, what was Jed Kurzel thinking when he decided to use loud, electric guitars to be at the heart of his score for the Medieval/Renaissance Spain scenes? It simply does not work!

Aguilar the Assassin fighting men of the Knight's Templar.

Aguilar the Assassin fighting men of the Knight’s Templar.

Over-all, Assassin’s Creed is a shambles of a film, but it is not an atrocity to cinema. Sure, it is dull; the script and the dialogue are incomprehensible; some of the acting reeks of a disinterest; and the music is horrible. But the movie also has several positive elements, such as the CGI, cinematography and Michael Fassbender’s acting. These give the film cre(e)dence and make it marginally watchable.

But does Assassin’s Creed buck the trend of bad video game adaptations? Not really. And if a video game adaptation with as much talent as Assassin’s Creed cannot turn the tide in the right direction, perhaps video games should remain on their consoles rather than be adapted for the big screen.

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Review – Macbeth (15) [2015]

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Star Rating: 4/5

Director:

Cast:

Music Composer:

To look back is a double-edged sword. To look back upon one’s achievements, mistakes and losses in order to grow as a person and to build a better future is important and valuable. Nevertheless, to look back longingly fetters an individual. Justin Kurzel’s take on Macbeth illustrates how looking back longingly can manifest itself in a variety of negative ways on people and impair them.

Macbeth (Michael Fassbender), bloody and filthy, in the heart of a battle.

Macbeth (Michael Fassbender), bloody and filthy, in the heart of a (cloudy) battle in the Scottish Highlands.

Kurzel’s Macbeth is based on the play, written by William Shakespeare. Macbeth, Thane of Cawdor (Michael Fassbender), receives a prophecy from three witches. They tell him that one day he will become King of Scotland and that no man of woman born will be able to kill him… although, they do warn him to be wary of Macduff (Sean Harris). Consumed by ambition and urged on by his manipulative wife, Lady Macbeth (Marion Cotillard), Macbeth acts to fulfil the prophecy. But at what cost?

Macbeth is a compelling and gripping film. Central to this are the performances. David Thewlis as Duncan is decent, and Sean Harris as Macduff is very good as usual. Yet, it is the two main performers that stand out. Both Michael Fassbender and Marion Cotillard are riveting. One may not always understand what they say since the movie is in Shakespearean English. But due to the strength and rawness of their performances, viewers can feel the emotion behind their words and, therefore, understand their actions.

It helps that audiences can empathise with Macbeth and Lady Macbeth straight from the off. Macbeth begins with Macbeth and Lady Macbeth suffering a tragic loss, and this loss never leaves them. No matter what they achieve, they are always looking back upon this loss and it devours them.

That this scene is not in the original script that Shakespeare wrote should not be of concern, even to play purists. In the play, this tragedy for Macbeth and Lady Macbeth is mentioned, so it is part of the story. But by showing the event and making it the opening scene of the film, Kurzel gives the event a gravitas that is lacking in the original play.

Macbeth greeting Duncan (David Thewlis) upon the latter's arrival at Cordor.

Macbeth greeting Duncan (David Thewlis) upon the latter’s arrival at Cawdor.

This alteration from the source material is not the only instance in which Kurzel plays fast and loose with Shakespeare’s version of the story. Nonetheless, for play purists to put too much stress on the alterations would be to miss what Kurzel keeps and enhances from the original play. What’s more, unlike other adaptations which have given Macbeth a more modern slant (for example, the 2013 London theatre production starring James McAvoy as the titular character), Kurzel has made his 2015 film adaptation more medieval. Consequently, the movie is bloody, grisly and muddy; all of which is fitting for the story.

In addition, with the Scottish Highlands for the main setting, Kurzel has increased the authenticity of the play. The landscapes are apt and wondrous (perhaps even worth fighting for). Yet, the weather is grim, windy and rainy. These conditions breed miserable, nasty people who are devoid of humour. Indeed, the entire movie is devoid of humour and somehow that feels right.

Indeed, Kurzel gets much right. However, his version of Macbeth is not without its flaws: the movie should have been longer than 113-minutes, and some key scenes are missing; the first twenty minutes are heavily edited, to point that one could easily believe that Kurzel has ADD; the battles are underwhelming, difficult to see, and rely too much on (300-style) slow-motion followed by super-fast, killer moves; and the final scene is jarringly out of sync with medieval times.

Lady Macbeth (Marion Cotillard) trying to soothe her now kingly husband at Bamburgh Castle.

Lady Macbeth (Marion Cotillard) trying to soothe her now kingly husband at Bamburgh Castle.

Nevertheless, even in the scenes where Kurzel does not get everything right, one can still be overcome by the music. The score has been written by Justin’s brother, Jed, and it resonates deeply with audiences. The music enables one to feel Macbeth’s and Lady Macbeth’s triumphs. Yet, in the same beat, it also enables one to feel as if the couple are looking back longingly at the loss that they cannot get over.

Over-all, Macbeth is a really impressive film. The movie is not without its problems as it should have been longer, while the first twenty minutes and the last scenes should have been handled better. All the same, there is much to admire about Kurzel’s Macbeth from its gritty realism of Scotland in the late-medieval period, to the alterations that Kurzel has made from the original source material, to the astonishing performances of Michael Fassbender and Marion Cotillard.

Undoubtedly, Fassbender and Cotillard make up the best elements of the film. They depict the strength and ambition of the two characters, as well as their tragic natures. They do this by presenting what can happen to us if we look back longingly for something we’ve lost. Fassbender and Cotillard show us that this loss will eat away at us and undermine everything we achieve, even if we achieve all that we desire and more.

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