Assassin’s Creed Review

I’ve been waiting for this film for well over a year. After last year’s Macbeth (which had all the same technical crew and actors), I was super excited for Assassin’s Creed. Could it shake the video game-curse or is it another one to throw on the pile?

Assassin’s Creed stars Michael Fassbender, Marion Cotillard, Jeremy Irons, Ariane Labed and Charlotte Rampling and is directed by Justin Kurzel. The film follows Callum Lynch (Fassbender) who after being saved from death row by a mysterious company has to relive the memories of his ancestor Aguilar (also Fassbender) from the Spanish Inquisition.

When I first heard about the Assassin’s Creed movie, I was excited when I heard they were moving away from the story of the games. This is what the film does right, it moves away from the story gamers would know and creates its own Assassin and setting, but leaves little hints for the eagle-eyed fans. Kenway’s flintlocks, Connor’s bow, Baptiste’s descendants, they make the world feel rich with history and lore that could be explored in sequels.

Sadly the film also takes the modern day approach to the story. Instead of it just being about the Spanish Assassin’s the film splits itself between that and the modern day wider narrative. We spend more time in modern day than in the Animus (the machine that allows Callum to relieve his memories), which for me was a problem. I came to see 1500s Spain not Michael Fassbender walk around minimalistic settings. The film only goes back to Spain three times, each only lasting around twenty minutes at the most. There is a reason Desmond Miles (the modern day character from the game) is never on the front cover, because we shouldn’t be focussing on him so why are we focussing on Callum rather than Aguilar?

The actors aren’t doing their best work either. Michael Fassbender flits from cracking jokes and madness to being stoic and brooding with no reasoning behind it. Marion Cotillard and Jeremy Irons look vacant for most of the film with Cotillard only getting some character development near the end. The most interesting character is Maria (played by Ariane Labed), an Assassin that works with Aguilar. Through subtle looks and gestures, it feels like there was a relationship building up between her and Aguilar, but it never builds to anything. Credit to Fassbender and Labed though for learning Spanish for the sections in the past.

The part that annoyed the most was the camerawork. I do not for a second believe that Adam Arkapaw, the man that was responsible for the beauty of Macbeth, True Detective, and The Light Between Oceans, signed off on these shots. The trailer showed off long extended shots and excellent cinematography, but there is none of that in the actual film. Fight scenes are incomprehensible, parkour chases lack cohesion, and everything is shrouded in fog. Every time the Animus is booted up, we have a long sweep of the area from above, but it’s hardly visible due to the fog and clouds. The best shot is the one of Maria killing two guards, but it was in the trailer. The fight scenes also cut between the action unfolding in the past and then Callum doing the action in the Animus. Cutting between two plains of action is just confusing and takes away from what we actually want to see.

It really is a shame. With Fassbender, Cotillard, The Kurzel brothers, and Arkapaw all working together again on a film, it shouldn’t be bad. But there is none of that spark from their earlier films here. I will say, it’s a film that gets better as it goes on. It’s only in the final third where true character development happens and we get some of those action scenes we were promised, but it’s too little too late. I do wish for a sequel though. Hopefully they will take heed of the criticism and develop the film based on the feedback of both fans and critics (of which I am both).

Score: 4/10 Not truly terrible, but not great by any stretch.

High-Rise Review

Another film that was meant to come out back in 2015, High-Rise has been in different stages of production for around 30 years, with several tries falling by the wayside. Finally, it’s with us, so it’s about time that I reviewed it.

High-Rise stars Tom Hiddleston, Jeremy Irons, Sienna Miller and Luke Evans and is directed by Ben Wheatley. Based on the book of the same name by JG Ballard and set in an alternate 1970s, the film follows Dr. Robert Laing (Hiddleston) who has just moved to the High-Rise. He is caught in the middle when all-out war breaks out between the poor tenants at the bottom and the rich at the top.

High-Rise boasts an impressive cast and all of them are doing top work. Luke Evans as Wilder, the instigator of the class war, Jeremy Irons as the wizened old architect Royal or Siena Miller as the temptress Charlotte, they are a great selection of actors. There are smaller roles of Elizabeth Moss (with a rather silly upper class accent) and an unrecognisable Keeley Hawes who are filling in the sides. And since it’s set in the 70s, the men are in flared trousers and moustaches and the women are in mini-skirts, and all of them have bad hair. It’s good costume design and might cause a buzz at next year’s award season.

The standout performance though is Tom Hiddleston as Laing. Laing is an outsider, we don’t know much about him at the film’s start and we know just as little by the end. He’s slimy but also charming at the same time, it’s a bit like Hiddleston’s performance as Loki in the Avengers. There have been rumours that he could be the new James Bond, and High-Rise is a promising audition. Hiddleston can show he’s suave and stylish but also ruthless and shady when it comes to it.

The story is set in motion by power failures on the lower floors while consistent power is running at the higher and penthouse suites at the top. The lower flats are styled in the 70s fashion, gaudy apartments filled with faux-wood and plastic chairs and tables, and are always shown in semi darkness. The top floors are brightly lit, painted all in white and furnished with rugs and extravagant pets. The tenants in the top floors are dressed like it’s the 1800s. They wear powdered wigs and ball gowns and tailcoats, they gorge on canapés and expensive alcohol and they behave like spoilt children. Laing fits right in the middle and is both played and plays for both sides of the conflict.

When the first cracks begin to appear between the floors, it soon turns to violence pretty quickly. Just imagine something like The Hunger Games if it was set in the tower block from The Raid and you’ll be around the right mark. It reminds me of something like Bioshock or 2013’s Snowpiercer, which was another film that dealt with the lower classes rising up against the upper class, but here we don’t see a lot of the large clashes of violence. We see the small fights but mainly the aftermath; the blood spilled on the floor, the rubbish piling up in the corridors and the household object that had been repurposed as weapons during the skirmishes. Anything and everything is used, scissors, golf clubs and sometimes just bare fists.

They fight over things like fresh food and candles as well as the alcohol, drugs and women that fuel their parties. Even while going toe-to-toe, both lower and higher floors find time to party all night, with the corridors turning into weird, drug-fuelled raves. Cinematographer Laurie Rose captures all of the decadence superbly through a mix of steady shots in the beginning before moving into the handheld camera to get right in the face of the depravity that unfolds.

I didn’t know what to expect when going into High Rise but in the end I was blown away by the sheer craziness of it all. While it does feel a tad overlong, it’s worth every moment just to see the beautiful mess that High Rise becomes.

Score: 9/10 Sexy, smart and sophisticated…while being completely mad at the same time.