Director: Stuart Beattie
Starring: Aaron Eckhart, Bill Nighy, Miranda Otto, Yvonne Strahovski, Jai Courtney
Mary Shelley could never have seen this coming when she created one of the horror genre’s iconic characters back in 1818. In I, Frankenstein her creature becomes the latest classic to be reimagined for the screen via the graphic novel.
Having lived in secrecy for 200 years, Frankenstein’s monster, here named Adam, finds himself in the middle of a centuries old battle between demons and gargoyles. When a demon is killed its soul descends to hell and it can only return to Earth if it can find a living body without a soul. So Naberius, the leader of the demons, sees in Adam the secret to reanimating corpses into soulless vessels, and therefore the key to a potentially limitless army.
I, Frankenstein is the latest idea from the mind of Kevin Grevioux, the co-creator of the Underworld. That reasonably successful action/fantasy franchise concerned the ongoing war between vampires and werewolves, so I, Frankenstein is not so much a new idea as a variation on a theme. Between its effects heavy battle scenes, the movie labours through some truly ridiculous dialogue. At times this is the result of some poor writing, but largely it is because the premise of this film is such utter nonsense that when characters are forced to verbalise it they can’t help but sound ridiculous. And therein lies I, Frankenstein’s biggest problem. The film contains no acknowledgement of its ludicrousness, and therefore there is no sense of fun, humour or satire. Instead it takes itself far too seriously and it simply cannot afford to.
Turning Frankenstein’s monster into an action hero requires a stark reimaging of the famous character, so Aaron Eckhart’s monster bears little resemblance to Boris Karloff’s iconic lumbering giant. Eckhart has got himself in impressive shape for the role, so impressive in fact that in one scene in which he removes his shirt the creature even attracts a lustful double-take from Terra, the respected electrophysiologist who had been working for Naberius before she discovered his true identity. This version of the monster also does significantly more talking than any we’ve seen before. It might have made for a more interesting, if less action-packed, film if the monster was more traditional – a helpless innocent caught in the centre of this ongoing battle rather than a bad-ass butt-kicking machine.
The film closes with a voiceover from the creature in which he promises to go on fighting demons and protecting mankind, clearly setting itself up for a franchise. Fortunately I doubt we’ll ever see it. I, Frankenstein is an early contender for worst movie of the year.
Review by Duncan McLean
Director: Len Wiseman
Starring: Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston, Bill Nighy
Total Recall is a remake of the Paul Verhoeven and Arnold Schwarzenegger cult classic from 1990, which begs the question, why? Why did this film need to be remade? Director Len Wiseman, best known for the Underworld series, doesn’t take the story anywhere new, but he does lose the satire, the existential questions and sense of fun which made Verhoeven’s film work.
Total Recall takes us to a futuristic dystopia, where disenchanted factory worker Douglas Quaid decides to visit a Rekall centre, a company that implants clients with fake memories of the life they would like to have led. He chooses the life of a secret agent but as the procedure commences the technicians discover that he has had his memory erased and was previously, in fact, a secret agent. Quaid then finds himself on the run from those who had previously engineered his disappearance.
Colin Farrell takes on the role that Schwarzenegger made his own 22 years ago. Farrell is obviously a better actor than Schwarzenegger and does a passable job of getting you to empathise with his character’s confusion, but whether that is enough to make you accept him in Arnie’s place is uncertain. Arnie’s ownership of a role rarely has anything to do with his acting skill. What Farrell’s presence does do is demonstrate how, twenty years on, audiences demand a different style of action hero, with him being a far cry from the 1980s beefcakes like Schwarzenegger, Stallone and Van Damme.
Wiseman’s film is very visual effects heavy and while these effects are sound they are nothing we haven’t seen before. The look of the film is clearly based on Ridley Scott’s neo-noir masterpiece Blade Runner. If only it could have managed just a fraction of Blade Runner’s nuance.
Drawing on the Philip K. Dick short story “We Can Remember It For You Wholesale” (Dick also wrote “Do Androids Dream of Electric Sheep” which was the basis for Blade Runner), the intrigue of Total Recall is supposed to come from an uncertainty as to whether what we are watching is real life or whether Doug is simply experiencing his Rekall fantasy. Unfortunately this existential element is almost completely lost in this remake, with the film never quite doing enough to genuinely make you wonder about the reality of what is being experienced. What you are left with is a largely unengaging film which feels like one extended, two-hour chase sequence.
Rating – ★☆
Review by Duncan McLean