THE COMMERCIAL FILM OF THE WEEK
ASSASSIN’S CREED (2016) by Justin Kurzel
“Your destiny is in your blood”
You can talk about gender, and not a trend, to movies that are based on video games. As happened in his time, and many decades ago, with the novels, later with comics or animated series and in recent times with graphic novels more than consecrated; As the increasingly powerful and phagocytic video game industry has been developing and entering the homes of each individual, the most powerful filmmakers have succumbed to this commercial osmosis, adapting the most media to the big screen, or in single delivery or in saga form. “Super Mario Bros”, “Street Fighter”, “Tomb Raider”, “Final Fantasy”, “Resident Evil”, “Alone in the Dark”, “Doom”, “Silent Hill”, “Max Payne” Persia “, form a long list of the most well-known sagas. The last to join this “club” has been the recent and mythical “Assassin’s Creed”.
The connoisseurs of at least the first of the parties will be well aware of the argument, assuming that the “older” audience (over the age of 30 or 40, typical of this industry) will not be familiar with The plot of the film, plagued with fictitious elements difficult to reach in something that does not belong to a game of animation.
Cal Lynch (Michael Fassbender) is an inmate who is allegedly to be sentenced to death, but is given one last chance in the same Texas jail, and is taken to the main headquarters of a company currently utopian in its function, called Abstergo (incarnation of the Order of the Templars) settled in Madrid. It deals with nothing more and nothing less than through an innovative genetic technique, access to the ancestral memories that keeps Cal, all directed by Sofia (Marion Cotillard) and supervised by its millionaire father Rikkin (Jeremy Irons), of an called ancestor Aguilar of more than 500 years, concretely in 1492, in the recent reconquered Andalusia on the part of Kings Católicos. The objective of accessing this molecular and ribonucleic memory is that at that historical moment, his relative, a member of the Assassin’s brotherhood, was aware of the whereabouts of a powerful weapon: the Apple of Eden or Fruit of Eden, Which gives an important power to the one who owns it. The aim of the Templars is to have it and of the murderers that they do not possess it.
Technical resources aside, that by budget is acceptable that are not going to be scarce and therefore, they will be taken for granted that they are worthy of praise: special effects, costumes, animation, action etc… The film does not declare much with respect to what Which is usually a film of these characteristics: a feature film based on a video game script. Taking for granted with this, that the plot can go by some routes more than rocambolescos, difficult and impossible to transfer to a daily reality. It means nothing more than to give free rein to the action, which is what the initial script of history is subjected to, without pretending to go much further. It should be its main axis, with no other interest than to offer the public an authentic visual spectacle in which the actors do not try to be excessively charismatic with respect to the depth of their character, in which they stand out for their superficiality or better Said, to be in step with the action.
The style that Justin Kurzel wanted to provide (“Macbeth”, “Snowtown”) is an overly personal style, imbibing his particular vision of the plot and not succumbing to the original original screenplay, which unwittingly demeaning said style recharges of more theatricality And histrionism (see the works of Zack Snyder), as much by the own action of the history and details, like the one of the own personages. Cotillard, but above all Fassbender does not cope with a character who should be visceral and less cerebral or restful at times. Already “per se” is an interpreter whose look and presence, forces him to see something beyond his performance, offers more complexity in his interpretation; And in this case perhaps, Cal Lynch should be simple and irrational in certain respects; So that the same action and plot of the film are the protagonists.
Of the most relevant of the film, the remarkable secondary role and quite achieved of the already more than contrasted peninsular actor Javier Gutiérrez, interpreting to a priest of the medieval Inquisición
All this makes the film an indefinite work as a style, a hybrid between energetic action and a plot with excessive protagonism, probably not satisfied anyone: neither those who sought a film with strength and movement or those who wanted to see An “Assassin’s Creed” close to what Nolan does with his adaptations of Batman, offering something beyond the strictly picturesque vision of the hero itself.