Director: Justin Kurzel
Cast: Michael Fassbender, Marion Cotillard, Jeremy Irons, Michael Kenneth Williams, Ariane Labed
Running Time: 140 minutes
What does it take to make a worthwhile movie based on a video game? Because it isn’t just talent – ASSASSIN’S CREED proves that.
Like WARCRAFT, CREED pits a genuinely gifted director against all that terrible cinematic history – from 1992’s SUPER MARIO BROTHERS through the RESIDENT EVIL series to this year’s ANGRY BIRDS MOVIE – and comes up lacking.
Australian director Justin Kurzel quietly proved his mettle with an astonishing true crime horror film in 2011 called SNOWTOWN. Last year, he teamed up with Michael Fassbender and Marion Cotillard – authentic talents if ever there were – for an imaginative and bloody take on Shakespeare’s MACBETH.
And now the three re-team, along with time-tested craftsmen Jeremy Irons, Brendan Gleeson and Charlotte Rampling, to adapt the popular time traveling video game.
Fassbender is Cal, a death row convict secretly saved by the Abstergo science lab. There, Dr. Sofia Rikkin (Cotillard) will use him to channel his ancestor Aguilar (also Fassbender) – member of a shadowy team battling the Knights Templar for the freedom of humanity.
So, we bounce back and forth in time between a modern day SciFi story and a dusty Inquisition-era adventure. Cal struggles against his newfound captivity and the after-effects of the experiments; Aguilar parkours his way through ancient Spain, trying to keep the Templar from the apple that started all our troubles back in Eden.
If the problem here is not talent, what, then?
As usual, it begins with the writing. Kurzel works with his MACBETH collaborator Michael Lesslie, as well as ne’er do wells Adam Cooper and Bill Collage (ALLEGIANT, EXODUS: GODS AND KINGS). They put together a story that’s as convoluted and bloated as it is superficial.
The cast gets little opportunity to do anything other than deliver dour lines with stone faces, each one developing less of a sense of character than what you would have actually found in the video game itself.
Kurzel’s no help, his mirthless presentation undermining thrills at every turn. When he isn’t bombarding the action with murky visual effects, he’s pulling the audience from the midst of a climactic battle and back into the lab to watch Cotillar and/or Irons look on with clinical interest.
Maybe it’s impossible to capture the visceral thrill of gaming within the comparatively passive experience of cinema. Maybe the rich backstories of modern video games are only rich if you’re used to video game narratives. Hopefully the movies will get it right at some point, or at least they’ll stop wasting such incredible talent on such forgettable nonsense.