In the 2006 animated blockbuster Happy Feet an alienated emperor penguin named Mumbles found empowerment through tap-dancing and in so doing managed to both attract a mate and stop the overfishing that imperiled his Antarctic habitat. Directed by George Mitchell – the same George Mitchell who gave us the post-apocalyptic Mad Max trilogy and the almost despairingly bleak Babe: Pig in the City – Happy Feet paired its broadly conventional narrative with a darker sensibility not often seen in talking-animal fare.
The film’s sequel Happy Feet Two finds Mitchell (co-directing with Gary Eck) both more jovial and more easily distracted. The story begins straightforwardly enough with Mumbles (Elijah Wood) now grown-up and by all appearances well-adjusted ceding the mantle of self-discovery to his son Erik (Ava Acres). Boogie fever has swept the once dance-averse penguin nation but in a cruelly ironic twist Erik has inherited none of his father’s nifty moves. But just as Happy Feet Two appears intent on recycling its predecessor’s basic storyline the film abruptly changes course and embarks on a series of detours that seemed geared more as fodder for throwaway gags and showy set pieces than anything else. The disparate narrative elements while enjoyable in isolation never quite coalesce into a meaningful whole leaving us entertained but unfulfilled.
As before Happy Feet Two features a variety of buoyant song-and-dance numbers with Alecia Moore (aka P!nk) lending her formidable pipes to spirited re-workings of “Rhythm Nation” and “Under Pressure ” among others. Robin Williams returns for double duty as both Ramon a diminutive oversexed Latin lover and Lovelace a fiery Southern-preacher type. (Lovelace later adopts a Rastafarian dialect allowing Williams to achieve the rare culture-caricature trifecta.) His voracious scenery-devouring is all the more impressive given the grandeur of the scenery. Not to be left out of the quasi-Vaudevillian comic shenanigans Hank Azaria lays on a thick Scandinavian shtick as Sven a charismatic Arctic émigré who presents himself as the only penguin in the world who can fly. Azaria is a hoot but the film’s best moments come courtesy of the cast’s highest-profile additions Matt Damon and Brad Pitt voicing Bill and Will (respectively) two tiny krill in search of meaning at the bottom of the food chain.
In 117 AD the famed Ninth Legion of the Roman army inexplicably disappeared. Through the centuries many legends pertaining to the missing squadron have unfurled. Some claim that the harsh elements of northern Britain brought them to their doom while more extraordinary stories suggest that supernatural forces laid waste to the soldiers. Writer-director Neil Marshall sought to set the record straight about the lost faction of fearless Romans with his new film Centurion but his audience receives much more mutilation than explanation.
A highly explosive cocktail of blood sweat and steel the film centers on Michael Fassbender’s Quintus Dias the stoic soldier for whom the film is titled and a captive of the savage Picts who have thwarted Roman subjugation for decades with effective guerrilla tactics. Quintus manages to escape the Picts’ village and regroup with the Ninth Legion led by the brave General Virilus (Dominic West) which happens to be on its way to finally end the devastation at the behest of a pushy Roman governor. Like every failed attempt at conquest the Roman forces are demolished. Quintus manages to survive yet again (cue eye-roll) along with a small group of battered warriors who end up on the run through treacherous terrain trying to stay a step ahead of Etain (Olga Kurylenko) a feared Pict huntress whose only joy in life comes from spilling Roman blood.
Like the movie’s breakneck production pace the story moves incredibly quickly leaving little time for the plot to be fully fleshed out (there’s not much of it anyway). The film would have benefitted from some more character development especially with the supporting cast because it is intended to be an ensemble piece but as each soldier got picked off I began to realize how insignificant most of them were to the narrative. As with all chase films though it’s the thrill of the hunt that keeps you engaged and Centurion delivers in that sense.
Fans of Marshall’s previous films The Descent and Doomsday will be drawn to Centurion’s similarly sadistic depiction of violence which is in no short order. Squeamish moviegoers will likely spend at least half of the movie’s 97-minute runtime with their eyes clenched as heroes and villains hack away at heads and limbs vividly illustrating the less-than-civilized age in which the film is set. Had previous entries into the swords-and-sandals genre like Braveheart and Gladiator not shown audiences and filmmakers alike that blood and story can be successfully balanced Centurion would’ve fared better but the director’s preference of gore over plot points kept me from ever being able to take it seriously.
Marshall’s mind is like an encyclopedia of genre conventions and he puts this knowledge to good use in terms of the movie’s technical components conforming to the visual style that we’ve come to expect from this period. If it’s growth that you’re hoping for don’t expect to find much; the only sign of it that the filmmaker demonstrates is in his at-times surprisingly poetic dialogue which describes the repulsive details of war and gives its deliverer Quintus much-needed depth. Credit is also due to a handful of the actors (namely Fassbender West and Kurylenko) who braved health-hazardous conditions to get the film made and take the on-screen chaos in stride no matter how absurd it gets.