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.
A billionaire TV producer (Robert Mammone) has a great idea for a reality show that he wants to put on the Internet and his goal is to beat the 40 million Super Bowl audience. He has compiled a crack team of young hip and immoral tech geeks directed by Goldman (Rick Hoffman) and puts cameras throughout a remote island where former prisoners are going to kill each other while audiences watch after shelling out the pay-per-view fee. The location is done on a remote secret island and the death row prisoners are bought from prisons around the world with the promise that the survivor gets to walk free. Among the contestants are a rogue Aussie named McStarley (Vinnie Jones) a martial arts expert (Masa Yamaguchi) a husband-and-wife team (Manu Bennett and Dasi Ruz) a monstrous killer who doesn't do much more than grunt (Nathan Jones) and others known only as The Italian The German and other monikers quickly forgotten. Enter the sole American Jack Conrad (Steve Austin) who's in a South American prison for some obscure reason and is recognized on TV by his wife (Madeleine West) who tries to save him. However it looks like Conrad is pretty good at helping himself. Don't expect the acting to be much more evolved than what could be seen among the World Wrestling Entertainment superstars especially since many of them were plucked from the ring to star in this morality tale. But Austin (who had in a strong cameo in Adam Sandler's Longest Yard) proves he has a sense of humor as well as strength. Vinnie Jones is ridiculously over-the-top as the Aussie who's the hand-picked winner of this game shown setting up alliances Survivor style only to turn on them later. The supporting cast are refreshingly entertaining but one-note caricatures both in the contest and running the contest. It's obvious that they aren't going to be around long but the actors do milk their tiny roles for every bit of attention they can get. Rick Hoffman as the brilliant camera mastermind of the project is both whiny sniveling and mean-spirited so when he joins some of the rest of the crew and suddenly develops a backbone and a conscience he ends up stealing the movie with his acerbic humor. But it's the understated American hero Conrad who holds a mirror up to the people who like to watch this stuff. Director Scott Wiper who co-wrote this story has also acted in similar movies like this (A Better Way to Die). It’s obvious he knows what he’s doing with The Condemned and develops a sense of voyeuristic angst like those of us who can't keep our eyes off a train wreck. Like the darkly subversive Belgian film Man Bites Dog the camera crew remains safely distant and remote until the reality directly involves them. Then the crew wonders "What the hell are we doing?" while the audience might be thinking "What the hell are we watching?" Much like Series 7: The Contenders Rollerball and other movies which show a dark and bloody near future this kind of reality doesn't seem too far away and maybe proves that movies which provide this type of gladiator spectacle target a certain segment of the human population who need to blow off steam.
The Academy of Motion Picture Arts and Sciences handed out 21 awards tonight for scientific and technical achievements.
Actress Charlize Theron hosted the black tie gala at the Regent Beverly Wilshire hotel.
Scientific and Technical Awards are presented by the academy for ``devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures.''
Seven Scientific and Engineering Awards were presented in the form of plaques, and 14 Technical Achievement Awards were given out as certificates. Its board of directors chose the winners based on recommendations from the
Scientific and Technical Awards Committee.
Achievements receiving the scientific and technical awards needn't have been invented during the current year, said Awards Administration Director Richard Miller. They are considered ``only if they have proved their exceptional merit through successful use,'' he said.
An Oscar statuette was presented to Edmund M. Di Giulio, who the academy calls one of the film industry's ``foremost engineering minds.'' De Giulio was the Gordon E. Sawyer Award recipient. The award, established
in 1981, is ``presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.''
Perhaps best known for his part in the engineering and development of the Steadicam, Di Giulio has been active on various Academy subcommittees. He chaired the Academy's Scientific and Technical Awards Committee for five
An Award of Commendation went to Rune Ericson, who was honored for ``his groundbreaking efforts on and dedication to the development of the Kodak Super 16mm film format for motion pictures.'' According to the academy, the Swedish director of photography has worked for more than 30 years to improve the Super 16mm, which has been used for more than 500 feature films shot throughout the world since the 1970s.
The system gives the camera extreme mobility, allowing cuts in production costs and shooting time without corrupting the quality of the image, according to AMPAS. The 16mm film format has also played a significant part in furthering the mainstream success of low-budget films. By extending the width of the 16mm frame, more of the frame height can be used, which allows low-budget films to be produced in a technically compatible version for widescreen theatrical release.
Here are the Scientific and Engineering Award recipients:
John Eargle, Don Keele and Mark Engebretson for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems;
Iain Neil won for the concept and optical design and Al Saiki for the mechanical design of the Panavision Primo Macro Zoom Lens, a compact, wide-angle, macro focus lens;
Peter Kuran for the invention, and Sean Coughlin, Joseph A. Olivier and William Conner for the engineering and development, of the RCI-Color Film Restoration Process, which restores color to faded color negatives;
Franz Kraus, Johannes Steurer and Wolfgang Riedel for the design and development of the ARRILASER Film Recorder, which demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality;
Makoto Tsukada, Shoji Kaneko and the Technical Staff of Imagica Corp., and Daijiro Fujie of Nikon Corp., for the Imagica 65/35 Multi-Format Optical Printer, a liquid-gate optical printer that offers ease of set-up and change-
over to various formats from 35mm to 65mm;
Steve Gerlach, Gregory Farrell and Christian Lurin for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film, which allows all four soundtrack systems to be exposed on a single negative
with relative ease, facilitating more economic distribution of motion pictures; and
Paul Constantine and Peter M. Constantine for the design and development of the CELCO Digital Film Recorder products.
Here are the Technical Achievement Awards winners:
Pete Romano for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures;
Jordan Klein for his pioneering efforts in the development and application of underwater camera housings for motion pictures;
Lance Williams for his pioneering influence in the field of computer-generated animation and effects for motion pictures;
Bernard Werner and William Gelow for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems;
Tomlinson Holman for the research and systems integration resulting in the improvement of motion picture loudspeaker systems;
Geoff Jackson and Roger Woodburn for their DMS 120S Camera Motor;
Thomas Major Barron for the overall concept and design; Charles Smith for the structural engineering; and Gordon Seitz for the mechanical engineering of the Bulldog Motion Control Camera Crane;
John Anderson, Jim Hourihan, Cary Phillips and Sebastian Marino for the development of the ILM Creature Dynamics System;
Dr. Steve Sullivan and Eric Schafer for the development of the ILM Motion and Structure Recovery System;
Carl Ludwig and John Constantine Jr. for their contributions to CELCO Digital Film Recorder products;
Bill Spitzak, Paul Van Camp, Jonathan Egstad and Price Pethel for their pioneering effort on the NUKE-2D Compositing Software;
Dr. Uwe Sassenberg and Rolf Schneider for the development of ``3D Equalizer,'' an advanced and robust camera and object match-moving system;
Garland Stern for the concept and implementation of the Cel Paint Software System; and
Mic Rodgers and Matt Sweeney for the concept, design and realization of the ``Mic Rig,'' a self-contained, low bed picture car carrier and camera platform.