You call that a Monster? |
Angels,
demons, awesome fight sequences and dark, brooding, solitary characters. Oh yeah, I groove on all that. I didn’t mean to watch two movies that centered
on these kinds of themes, but when I saw I,
Frankenstein and Winter’s Tale
back-to-back, that’s exactly what I accomplished. It wasn’t the most perfect day ever, but as
far as finding watchable and intriguing movies, this was a winning ticket.
I, Frankenstein features Aaron
Eckhart as the Monster. Despite an
impressive scars, attempts to dehumanize him (other characters constantly call
him “It”), and at least three scenes reflecting that people are shocked and horrified
by his appearance, there’s very little monstrous about Eckhart. It’s not like when De Niro donned the make-up
twenty years ago, or even when Clancy Brown did it thirty years ago.
No,
no. This is an updated, last action hero-type
version of the Monster. The film starts
where Mary
Shelley’s book ends (sorta).
Dr. Frankenstein is dead, succumbed to the cold of the North Pole while
tracking Adam. Adam carries the body of
his creator back to his family burial plot, only to be attacked by . . . wait
for it . . . demons! He manages to hold his own, but these are,
after all, demons. That’s when
awesomeness happens. Gargoyles save
him. Brought into being by the archangel
Michael to fight against the demon hordes (666 legions, to be exact), these
gargoyles do exactly what their non-sentient, stone-statue brethren were meant
to accomplish: fight off evil.
Now THIS is a monster! |
The
only thing that could have made the movie better was the inclusions of ninjas.
"Who is this man? What sort of Devil is he?" |
Fresh
from that eye-candy, I dove into Winter’s
Tale, which asks you to believe that an infant in Manhattan will grow up
with his parents’ Irish accent, even though he was orphaned at birth. Starting in 1916 Manhattan, I didn’t mind at
all this conceit that let us hear Collin Farrell’s native voice as the talented
thief/mechanic Peter Lake. Nor did I
mind seeing Russell Crowe in period costume as the evil demon Pearly, who runs
a gang of the most organized crime syndicate ever conceived. There were a couple of times I thought Crowe
might break into song about being a French policeman, but alas, I
mistaken. Lake, wants to leave the gang,
and Pearly decides he has to kill Lake for this (yeah, weak, but it’s the plot
so work with me). On the run from Pearly
and his black-suited thugs, Lake manages an escape when he comes across a
beautiful but mysterious white horse, which will be known as The Horse for the
rest of the film. He finds himself in
the home of Beverly (Jessica Brown Findlay of Downton Abbey fame), who is suffering from consumption (tuberculosis)
and practically on death’s door, but tragically beautiful. So, of course, they fall in love.
Angels and ministers of grace, defend us! |
There
are all kinds of problems and anomalies with the film, but the characters
themselves are reasonably believable, the demons are suitably evil, and Will
Smith makes a wonderful appearance as “the Judge”, or, in case you can’t guess
Lucifer himself. My wife pointed out
that we now have Morgan Freeman as God and Will Smith as Satan, and what an
awesome movie that would make. So if you’re listening, Hollywood, I’ll pay
to see it!
Apparently,
I’m almost alone in my enjoyment of these two films. This doesn’t surprise me. For some reason, I have a real bias toward
angel/demon themed films. I’m one of the
few people who has actually heard of, let alone seen, Gabriel. I got a huge kick
out of The Prophecy. Angel
Heart, Fallen even Constantine with its unfortunate
inclusion of Keanu was more than watchable for me.
But
that’s the warning to you. As for me, I’m
going to queue up Legion.
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