The God of Legion secular Hollywood’s latest Biblically-inspired action flick is old-school an angry spiteful Almighty with a penchant for Old Testament theatrics. Fed up with humanity’s decadent warmongering ways He’s decided to pull the plug on the whole crazy experiment and start over from scratch.
Fortunately for us the God of Legion is also a rather lazy fellow. Instead of doing the apocalyptic work himself and wiping us out with a giant flood which worked perfectly well last time He opts to delegate the task to His army of angels — a questionable strategy that starts to fall apart when the archangel charged with leading the planned extermination Michael (Paul Bettany) refuses to comply.
Michael who unlike his boss still harbors affection for our sorry species abandons his post and descends to earth where inside the swollen belly of Charlie (Adrianne Palicki) an unwed mother-to-be working as a waitress in an out-of-the-way diner sits humanity’s lone hope for survival. Why is this particular baby so important? Is it the one destined to lead us to victory over Skynet? Heaven knows — Legion reveals little details its script devoid of actual scripture. What is clear is that God’s celestial hitmen want the kid whacked before it’s born.
But Michael won’t let humanity fall without a fight. Armed with a Waco-sized arsenal of assault weapons he hunkers down with the diner’s patrons a largely superfluous collection of thinly-sketched caricatures from various demographic groups led by Dennis Quaid as the diner’s grizzled owner Tyrese Gibson as a hip-hop hustler and Lucas Black as a simple-minded country boy.
Together they mount a heroic final stand against hordes of angels who’ve taken possession of “weak-willed” humans turning kindly old grandmas and mild-mannered ice cream vendors into snarling ravenous foul-mouthed beasts. They descend upon the ramshackle diner in a series of full-frontal assaults commanded by the archangel Gabriel (Kevin Durand) the George Pickett of End of Days generals.
Beneath its superficial religious facade Legion is really just a run-of-the-mill zombie flick a Biblical I Am Legend. Bettany an actor accustomed to smaller dramatic roles in films like A Beautiful Mind and The Da Vinci Code looks perfectly at ease in his first major action role wielding machine guns and bowie knives with equal aplomb. Conversely first-time director Scott Stewart a former visual effects artist does little to prove himself worthy of such a promotion serving up some impressive CGI work but not much else worthy of note.
It’s been 400 years since a virus wiped out most of the planet. All that’s remains is a small walled-in community of sorts Bregna run by the Goodchild Regime. Most of the citizens have no choice but to put up with their quasi-Totalitarianism. But Aeon Flux (Charlize Theron) a top operative of the underground Monican rebellion has had enough and seeks revenge on the government she believes destroyed her life. At the behest of the Handler (Frances McDormand) who gives out the orders to the few do-gooders of Bregna she aims to sabotage the Regime. Little does Aeon know however that there is already unrest within the Goodchild clan between brothers Trevor (Marton Csokas) and Oren (Jonny Lee Miller). When Aeon arrives to carry out her revenge she unlocks a number of secrets and finds out who’s really on her side. There are a heap of objectionable themes in Aeon Flux but the real shame is that these actors willingly took part in this film. Granted Theron looks stunning steely and sultry all at once but we thought her Monster Oscar would afford her more meaningful roles so her looks wouldn’t be the focal point. Her acting is hard to gauge here because her stark beauty is accentuated. It’s a step back for her even if taking the role must have padded her wallet. McDormand--who was so good just months ago in North Country with Theron--looks like Tim Burton’s twin sister in Flux with her outlandish makeover. It is only slightly more ridiculous than the robot-like character she’s supposed to be playing. And Sophie Okonedo who plays Aeon’s partner-in-crime is worthy of praise but after her Oscar-nominated performance in Hotel Rwanda you have to wonder what made her do Flux. Aeon Flux just might do in director Karyn Kusama whose only other credit is the 2000 indie darling Girlfight. Most directors work a lifetime to get a big-budget monster like this but unfortunately for Kusama she can’t quite carry the torch. The film looks like Tomb Raider’s jealous younger sibling who still has much to learn. There’s non-stop action in exotic locales smoldering lead actress in skin-tight wardrobes etc. but it leaves you feeling dizzy more than anything else especially since the death-defying action is constantly cutting back and forth between Theron and her stunt double. And everything is only grossly accentuated by awful dialogue that sounds like a satire of an over-acted heavy drama. The film’s set design is spectacularly elaborate and breathtaking but it unfortunately can’t redeem the rest of the film.
August 29, 2003 11:06am EST
Jeepers Creepers which was released in 2001 established some basic facts about the winged monster the most important being that it eats every 23rd spring for 23 days. This sequel however is not set in 2024 but on the last of the 23 days and parallels the events of the first film on the dreaded East 9 Highway in Poho County: On the same stretch of road a bus carrying high school students returning home from a championship game become stranded when two tires on the vehicle blow out. It's not an accident but the work of the Creeper (Jonathan Breck) who then returns to the crippled bus to feast on its passengers. After the driver and coaches get picked off the kids like savory sardines in a tin box are left to fend for themselves. The only clue they have as to what's going on is through cheerleader Minxie (Nicki Lynn Aycox) who has a dream in which Darry (Justin Long)--the lead character from the first film--warns her of the Creepers intentions. The group's only salvation is a local farmer (Ray Wise) looking to avenge his son's demise at the hands of the Creeper. Fraught with fright flick clichés Jeepers Creepers 2 is not as intelligent as the first and the elements that made the original so compelling--the suspense drama and the emotional investment in its characters--are definitely lacking in this sequel.
Jeepers Creepers 2 follows a busload of basketball players and cheerleaders as well as a farmer and his son in a concurrent storyline. The problem is there are so many characters here that none of them ever get a chance to fully develop. As the film opens attention is focused on Jack Taggert (Ray Wise) as the Creeper snatches his son in a cornfield. As an actor with great range Wise best known for his stint as Leland Palmer in David Lynch's cult series Twin Peaks isn't taken full advantage of here. He's bitter about the loss of his son but the movie gets that across to the audience by intermittently showing Wise's character frantically crafting a giant spear gun. But because the film doesn't devote enough time to the character we don't share his hatred for the Creeper. Breck reprises his role here as the winged beast and if the film spawns into a successful horror movie franchise could gain cult stardom as the Creeper. Because the Creeper is more prominent than in the first film Breck gets a chance to play with the character a little more and even infuses a bit of personality into the monster. The cast of teenage characters including Aycox Lena Caldwell and Garikayi Mutambirwa all give respectable performances but sadly get lost in the mix and never become anything more than disposable targets.
When it was released in 2001 director Victor Salva's Jeepers Creepers grossed $37.9 million at the box office--commercial success for a small horror genre flick. It had a lot going for it especially compared to most slasher pics; a good story with an even more intriguing villain but its appeal rested in Salva's visual approach. The director used subtle effects to mount suspense including what he describes as a "Hitchcock reveal " where the audience is given details that the characters aren't like a shot of the Creeper in a car's rearview mirror. But in Jeepers Creepers 2 Salva overuses this effect and it becomes almost irritating. What's more the tension that came with delaying the Creepers reveal in the first film is now gone. Moviegoers see him in the first scene followed by longer glimpses with each exposure--and the more we see of him the less scary he becomes. This film does have a few things going for it one of them being Bennett Salvay's musical score. Salva does not drown the film in pyrotechnics and screeching sound effects but instead uses the musical compositions to convey the mood of the entire production. In one scene Salva provides the audience with a bird's-eye-view of the group of teens running to safety across a vast field and accompanied by the heightened score resemble a herd of wildebeest on the run. But while the film is visually interesting it ultimately fails to get the audience to care for its whole host of characters making their fate and the action inconsequential.