Braveheart Neil Marshall’s approach to the historical war film about the conflict of the Romans with the inhabitants of the conquered lands, is a full-fledged quilty pleasure in all its glory and breathtaking bloody unity. A film-attraction for adults, where violence is elevated by the director into a visual cult, where the nauseating massacre is turned into an exciting spectacle, and where the stunning action of fights and battles beats with an adrenaline key.
Fans of highlighting historical accuracy, it is easier, perhaps, to watch something documentary or read a book, the film is not made for this and in no way claims to be a biopeak about the life of a real historical character. This art canvas is skillfully permeated with a creepy atmosphere, where at any moment can suddenly kill practical anyone. The only exception here is the main character. The most accurate ones manage to miss it, the most ruthless ones leave it alive, he is more lucky than many Hollywood characters combined, however, as the plot requires, in order not to spread the audience’s interest to any other storylines. However, to the final with him, side by side, comes not a few interesting and bright characters, quite effectively beaten by the cast.
In fact, Marshall plays his own “Judgment Day”, shifting the time of action from an imaginary future to a more or less plausible past. The change of the era, although it fell on hand, successfully restoring the relevance of the triumph of violence and the relevance of all the shed blood and mountains of dead flesh, but the entourage of insanity and permissiveness does not fall into such a drive, although the dynamics of the film are certainly quite good. Having retained the style, he lost the zest and thread of color, permeating the plot action. In other words, the film lacks the charisma of what is happening, this entertainment, with all its advantages, does not cause the desire to review it as often as Marshall’s previous works.
Perhaps this is the fault of the casting, where it seems that everyone in their places, confidently hold, but at the same time do not produce a vivid emotional impression, as much as I would like. The main character, his brave heart and cunning mind, still do not make Fassbender a hero who deserves compassion, for which you care with all your heart. He's not Pitt from Troy, he's not Gibson from Braveheart. And the characters of the film as a whole are not brought to mind. And casting, decently holding on to its niche, does not present anything outstanding. To the disadvantages, it is worth adding the complete absence of erotic scenes, with the huge potential of R-rating, revealed only in terms of violence and massacre. But in the film there is a rather cute witch, with the love line of the main character.
But, despite the shortcomings, this is a strong genre film, pleasantly striking scenes of action and fights. And with humor, things are not bad, what is the scene with deer moss, for example. Group fights and final fights are performed flawlessly, and put in the most successful way. If ever the peak of emotions is reached, it is in battle, when either you finally start to worry about the characters, or just enjoy a powerful bloody spectacle.
Be sure to watch a movie, and then with the hope of waiting for the director’s or unrated version with an even greater feast of cruelty. And yet, wish Marshall that next time he will create something new, and not again re-made “Judgment Day” with a light retouch of details. And even when making a great movie, he can get lost in monotony. “Centurion” is a great example of how to shoot films of this genre. That's what Robin Hood didn't become, and so many others. “Centurion” finally successfully demonstrates the historical genre, entertaining with a spectacular video sequence and impressing with a careful ode to merciless battles, this bright film is a great example to follow and proves that Neil Marshall knows how to shoot a stunning real movie!
8 IZ 10
Original