Richard Riddick (Vin Diesel) has a really bad rep and with good reason: Five years ago convicted killer Riddick escaped the galaxy's law enforcement during a botched interplanetary prison transfer and has been on the lam ever since. As The Chronicles of Riddick picks up our antagonist finds his relative freedom has been compromised when mercenaries out for the $1 million bounty on his head discover his location and hunt him down. Riddick escapes their clutches steals their ship and sets off for Planet Helion to find Imam (Keith David) the Muslim cleric he rescued in Pitch Black and the only person who could have squealed his location to authorities. But while Riddick's hunch about Imam are correct the cleric has a reason for luring the mammoth murderer out of hiding: Helion is falling to unholy armies of Necromongers--warriors who conquer by force in the vein of Star Trek's Borg. Of course Riddick doesn't give a damn about the Helions or their plight--until he gets wind that the Necromogers want to kill him because of an old prophecy that foresees their end at Riddick's hands. Like it or not Riddick is left with no other choice but to battle the Necromongers.
The character of Riddick is unquestionably what made Pitch Black one of the most sequel-worthy sci-fi films in years. And Riddick would not have been one of sci-fi's most intoxicating characters if it weren't for Diesel. Like his Dominic Toretto in the 2001 actioner The Fast and the Furious Riddick is a villain of few words but when he speaks his carefully chosen words have impact--even if the dialogue is at times overly theatrical. Riddick is the perfect antihero; a cold-blooded and indifferent being who somehow evokes more compassion than the film's so-called good guys. Joining Riddick are some recurring characters including David as Imam but Riddick benefits the most from the addition of some new characters particularly Colm Feore as Lord Marshal the Necromonger leader whose goal is to rid the universe of all human life. Feore channeling nuggets of Julius Caesar into his role makes for one of Riddick's most thrilling foes. Another prominent addition to the cast is Judi Dench who has a surprisingly small role as Aereon an Elemental captured by the Necromongers and used for her special powers including ESP.
Writer/director David Twohy took his horror pic Pitch Black which gained a cult following since it was released four years ago and managed to successfully turn it into an sci-fi actioner of epic proportions. Everything is grander here which is almost a given considering Twohy shot Pitch Black on a dime in Australia using colored filters. In Riddick the director distinguishes the film's different environments--the Necros' mothership Crematoria's cavernous prison and Helion--using warm to cool tones that are dazzling yet more subtle than its predecessor. The CGI effects get a little gamey at times but production designer Holger Gross' gargantuan sets are impressive and help craft Twohy's otherworldly vision into a plausible one. And although Twohy jumps genres from Pitch Black to its sequel his storyline evolves logically from the original premise. But while moviegoers unfamiliar with Pitch Black will be able to follow the story easily enough they may have a difficult time grasping what makes Riddick such a big deal; the film explains the legend but never fully captures its quintessence. This could hurt Riddick's chances to broaden its Pitch Black fan base.
Go ahead and throw logic out the window on this one folks. A mysterious Tibetan monk with no name (Chow Yun-Fat) has spent a lifetime protecting an ancient document known as the Scroll of the Ultimate--a parchment that will yield unlimited power to anyone who reads it. After running around the globe for 60 years the Monk knows it's time to hang up his robes and find a new guardian but spotting a successor isn't easy in the hustle bustle of the 21st century where Tibetan traditions and rituals are almost non-existent. Maybe the next protector should be the crafty rebellious pickpocket Kar (Seann William Scott) who learned martial arts from watching kung-fu movies; after all Kar helps the Monk escape from the scroll's most avid pursuer Strucker (Karel Roden) a sadistic old Nazi who wants to use the its power to rid the planet of inferior races. Or maybe the Monk's successor is the elusive but beautiful bad girl Jade (James King) whose skills are numerous and who seems to pop up to help Kar whenever he gets in a jam. Whomever the Monk eventually chooses they must first unite to battle the ultimate enemy--and keep the scroll safe.
If it weren't for Yun-Fat Bulletproof Monk would be pretty hopeless. The charismatic actor finds a nice balance no matter what he does and in this case he resists the obvious temptation to play the Monk as a fish out of water in the big city. Since he's long been one of Chinese cinema's most well-known action heroes he's definitely in his element in Monk standing on top of a car with guns blazing and the Zen master persona he discovered in Crouching Tiger Hidden Dragon serves him well here too. The script requires him to spout off fortune-cookie mumbo jumbo but he manages to do it without sounding ridiculous. The petite King actually holds her own as the brawny-yet-brainy tough chick but the wisecracking Scott is completely out of his element for the first time in his career. He handles the little comedic tidbits well but in no way is it possible to believe that the "Dude" who couldn't find his car and the jackass who drank someone else's bodily fluids in American Pie can be a martial arts hero who saves the planet. It just isn't going to happen.
Bulletproof Monk relies on the ghosts of movies past including Crouching Tiger and the 1986 Eddie Murphy stinker The Golden Child for its plot which results in a film that's chock full of cliches especially the evil Nazi who has spent 60 years chasing after the scroll using his tow-headed granddaughter whose cover is an organization for human rights to do the dirty work. A few bright moments with Yun-Fat coupled with director Paul Hunter's good use of fast-paced martial arts action make the rest of this unimaginative movie somewhat palatable--even novices Williams and King look good doing the moves--but all in all Bulletproof Monk is shooting blanks.
When he's not playing basketball feeding his fish working in the mall food court or hanging out with nerdy hyper-manic Virgil (Jason Tobin) 16-year-old Ben (Parry Shen) is applying to Ivy League universities studying for exams and memorizing vocabulary words for the academic decathlon. He has a crush on his bio lab partner the pretty cheerleader Stephanie (Karin Anna Cheung) and finds himself hanging out with her with the blessing of her rich arrogant boyfriend Steve (John Cho) with whom he strikes up an uneasy friendship--until Ben learns Steve's cheating on Stephanie. Ben is busy but bored. Life gets way more interesting when popular slick Daric (Roger Fan) who hangs out with Virgil's thug cousin Han (Sung Kang) talks Ben and tag-along Virgil into selling cheat sheets. This evolves into selling drugs stealing and other nefarious activities. In short order this fearsome foursome is known around school for toting guns starting fights drinking heavily and dealing the best cocaine around. They do it because they can: Their intelligence makes them feel superior and the stereotypes associated with their race (they're "the smart good kids") enable them to get away with it until things spin out of control; Ben wakes up with nosebleeds from the drugs he did to stay up all night studying and his beloved fish die of neglect.
Shen as Ben doesn't have as much personality as his three friends but that's appropriate. Wide-eyed he absorbs what they do like a sponge stiff and unbending at first then happily going along with the slyly manipulative Daric after he realizes there are no prices to pay only rewards to gain for their nihilistic actions. All the teens down to the pertly innocent cheerleader and her boyfriend are not evil so much as simply morally bankrupt. You don't really like any of them but you somehow understand why they do what they do. All actors are virtual unknowns but their performances are impressive.
Although the movie defiantly knocks the meek studious Asian stereotype upside down and around the corner their race ends up being almost beside the point. They could be the latchkey Everykids found in any upper-middle-class American community nowadays disaffected and bored with life in an increasingly short-attention-span pressure-cooker society. Director Justin Lin "gets" the essence of the kids and deftly handles their story with sharp editing edgy camerawork darkly funny script (some lines are priceless) and an excellent punk-pop soundtrack (fittingly Better Luck is the first theatrical acquisition for MTV Films). This film does run a little on the long side and makes one wonder if Lin had a hard time figuring out where and how to end it (reportedly the film's shocking ending was actually toned down from what was originally intended).