Winter has come and the New Year will be rung in soon. That means something else is on its way: another new season of Justified. Its season premiere is on Jan. 7. What better way to tide yourself over until spring than to watch one of the best shows on television?
If you are going to be new to the show, I would suggest binge-watching on Amazon. Trust me. It's worth doing. The show has some of the best dialogue and acting that I have seen.
Where Justified really excels, beside its main core of characters, is the casting of the peripheral ones. People like Margo Martindale and Neal McDonough. Though they were the main villains, they brought such a level to their work that they were far from being cardboard cut outs like someone from, say Walker, Texas Ranger. They bring in people that you might not even associate with dramas, like Mike O'Malley and Patton Oswalt. I was stunned at the work that O'Malley put in as the sadistic hit man from his season.
The show, while already great, did something that I really liked last season: It allowed its secondary characters like Tim Gutterson (Jacob Pitts) and Rachel Brooks (Erica Tazel) to spread their wings and tell their own stories and not just appear for two minutes and snark at Timothy Olyphant's Raylan Givens. Gutterson's dialogue with Colt Rhodes (Ron Eldard) in last season's finale was a thing of beauty.
I'm really interested in seeing where this season goes with Givens and his frenemy, Boyd Crowder (Walton Goggins). Givens has gone to a really dark place, walking away while the Detroit Mob rubbed out one of their own. Crowder is also in a very bad place, having seen his dream of buying a home and living a semi-respectable life with Ava Crowder (Joelle Carter) snatched away at the very last second. This season also marks the return of Dewey "You Mean I've Got Four Kidneys?!?!" Crowder (Damon Herriman), which should send all fans of the show into paroxysms of joy. The human cockroach, Wynn Duffy (Jere Burns) -- he who has seen about five people shot around him without suffering a scratch -- will also be great to see. Burns can convey so much with just the mere arch of an eyebrow and he may be the only criminal who does not fear Givens (even after having his gun pointed right at his forehead).
On the law enforcement side,besides Gutterson and Brooks, I'm always giddy to hear what Art Mullen (Nick Searcy) has to say. I'm hoping there's also a good arc involving Mullen and his pending retirement.
I could write about 10,000 words about this show, but figure that this season might be over by the time I finish. Instead, I leave you with this: Get ready to return to Harlan, everyone.
The Amazing Spider-Man would prefer if you didn't call it the fourth Spider-Man movie. See this ain't the Spider-Man your older brother knew from ten years ago — it's a reboot. The latest adventure to feature the comic book webslinger throws three movies worth of established mythology straight out the window swapping the original cast with an ensemble of fresh faces and resetting the franchise with a spiffy new origin story. "New" in the loosest sense of the word — the highlights of ASM mainly a sleek new design and spunky reinterpretation of Peter Parker (Andrew Garfield) and gal pal Gwen Stacey (Emma Stone) are weighed down by overpowering sense of familiarity. Nearly a beat for beat replica of the 2002 original with some irksome twists of mystery thrown in Amazing Spider-Man fails to evolve its hero or his quarrels. The film has a great sense of cinematic power but little responsibility in making it interesting.
We're first introduced to Peter Parker as a young boy watching as his parents rush out of the house in response to a hidden danger. Mr. and Mrs. Parker leave their son in the care of his Aunt May (Sally Fields) and Uncle Ben (Martin Sheen) who raise him into Andrew Garfield's geeky cool spin on the character. Parker's a science whiz but faces the challenges of every day life — passing classes talking to girls the occasional jock with aggression issues — but all of life's woes are put on hold when the teen discovers a new clue in the mystery behind his parents' disappearance. The discovery of his dad's old briefcase and notes leads Peter to Dr. Curt Connors (Rhys Ifans) a scientist working for mega-conglomerate Oscorp and his Dad's old partner. When they cross paths Connors instantly takes a liking to the wunderkind and loops him into the work he started with his father: replicating the regeneration abilities of lizards in amputee humans (Connors is driven to reform his own missing arm). But when Parker wanders into Oscorp's room full of spiders (a sloppily explained this-needs-to-be-here-for-this-to-happen device) he receives his legendary spider bite that transforms him into the hero we know.
Director Marc Webb (500 Days of Summer) desperately wants Amazing Spider-Man to work as a high school relationship movie but with the burden of massive amounts of plot and mythology to introduce the movie sags under the sheer volume of stuff. Stone turns Parker's object of affection Gwen Stacey into a three-dimensional character. Whenever they happen upon each other an awkward exchange in the hallway a flirtatious back-and-forth in the Oscorp lab (where Stacey is head…intern) or when the two finally begin a romantic relationship the two stars shine. They're vivid characters chopped to bits in the editing room diluted by boring franchise-building plot threads and routine action sequences. Seriously Amazing Spider-Man another mad scientist villain who uses himself as a test subject only to become a monster? And another bridge rescue scene? Amazing Spider-Man desperately wants to disconnect from the original trilogy but it's trapped in an inescapable shadow and does nothing radical to shake things up. Instead it settles for the same old same old while preparing for inevitable sequels instead of investing in its dynamic duo.
There's a sweet spot where the film really hits his stride. After discovering his spider-abilities Peter hits the streets for the first time. He's superhuman but still a headstrong teen full of obnoxious quips and close calls with shiv-wielding thugs. The action is slick small and playful Webb showing us something new by melding his indie sensibilities with big scale action. If only it lasted — the introduction of Ifans reptilian half The Lizard implodes Amazing Spider-Man into incomprehensible blockbuster chaos. A gargantuan beast wreaking havoc around New York City promises King Kong-like escapades for the friendly neighborhood Spider-Man but the lizard man has other plans: to rule the world! Or something. Whatever it takes to get Lizard and Spider-Man fighting on the top of a skyscraper over a doomsday machine — logic be damned.
Amazing Spider-Man peppers its banal foundation with great talent from Denis Leary as Gwen's wickedly funny dad and the police captain hunting down Spider-Man to Fields and Sheen as two loving adults in Peter's life to Garfield and Stone whose chemistry demands a follow-up for the sake of seeing them reunited. But it's all at the cost of putting on the most expensive recreation of all time with new demands imposed by the success Marvel's other properties (except that franchise teasing worked). Amazing Spider-Man introduces too many ideas that go nowhere undermining the actual threat at hand. No one wants to be unfulfilled but that's the overriding difference between the original movie and the update. You need to pay for the sequel to know what the heck is going on in this one.
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
S2E19: Every time Kristen Chenoweth stops by Glee, you know you’re going to get a little extra camp and that’s totally fine. What I wasn’t expecting was another dose of what we saw in the season premiere: constant referencing of the show’s ridiculous popularity. We get it, you’ve got good ratings and the interwebs are constantly buzzing with any tiny newsbit that pops up, but we know that because WE’RE THE ONES MAKING IT POSSIBLE. So, please stop.
The glee club is supposed to be trod upon. They’re supposed to be nobodies, yet somehow when Sue reinstates the school gossip newspaper it’s filled with rumors about them. Remember in the season premiere when Jacob Ben Israel followed the club around asking questions about their personal lives as if the rest of the school cared? Well, this was part two and while it worked for the plot, it’s self-indulgent and frankly it’s a stretch, even by their standards.
The one good thing I will say about this episode is that it’s almost got the wild storyline syndrome under control. Instead the usual ridiculous amount of plot points, we’ve got a manageable, but still complicated web of events.
“The Muckraker motto: ‘If I heard it, it’s probably true or something.'” -Sue
The main issue this episode is Sue’s ongoing crusade against the glee club. It’s a two-parter, hinging on reinstating the gossipy school paper, the not-at-all-stupidly-named Muckraker, and by bringing April Rhodes (Chenoweth) back to tempt Will with a shot at the big time.
The Muckraker’s tirade of rumors seems to be the most effective weapon against the bunch-o-horny teens. It shakes the group to its core, spreading the word that Quinn is cheating on Finn with Sam and that Santana is a secret lesbian. Because Rachel is trying so desperately to make Finn jealous in any way possible – even by asking Sam to prom (he promptly and kind of harshly turns her down, perhaps because her proposal was so obviously calculated or because his home life is in shambles, but whatever) – and like she did when she knew Quinn was lying about the paternity of her baby in season one, Rachel shoves the rumor in Finn’s face. Boom, the club is on the outs.
The other part of Sue’s insane plan – seriously, she’s not even hilariously insane; hello, lame David Bowie and Anne Coulter costumes – actually ends up working out to the club’s advantage, sort of. April comes back to ask Will to help her write her musical about herself, Cross-Rhodes: The April Rhodes Story, and while she definitely awakens a bit of his Broadway bug, she ultimately helps him get to the point of using the beloved Fleetwood Mac album, Rumours, to bring the club back together because Fleetwood Mac used it the same way when they were about to break up. I actually thought that was a really cute idea that a high school choral director might actually use – for once.
I wasn’t exactly thrilled about the gleeks’ performances of the classic songs, because in most cases they opted for cheesy instead of genuine. April and Will’s was probably the worst; though I love Chenoweth’s voice, their rendition of "Dreams" (one of my favorite songs of all time) just didn’t work for me.
“Hi, I’m Brittany S. Pierce and this is my new internet talk show, Fondue For Two, which combines the two things I like the most: hot cheese and talking to people.” –Brittany
In addition to joining the Muckraker, Brittany’s new internet show is doing some legwork as well. In her first episode, she outs Santana as a lesbian – I guess she’s figured out that Lebanese was the wrong word. Darn. This was probably the best part of a so-so episode, mostly because I feel like Brittany should have started her own web series long ago and she’s quickly surpassed Sue Sylvester as the best character on the show.
Anyway, Artie is jealous because apparently Santana has been manipulating Brittany and he’s sick of it. Instead of having a constructive conversation though, he calls her stupid which is the quickest way to make her cry. She runs straight to Santana for support, who expresses her feelings with a Fleetwood Mac song and then makes a deal to go on Fondue for Two. Brittany will ask her out on the series and then Santana can just accept without having to admit anything outright. Brittany is the sweetest. She’s been such a darling about Santana’s discovery and Santana has been so vicious in return. I feel for her in her struggle, but it's hard because she can be so nasty about everything.
Speaking of which, Santana stands Brittany up and returns to her false relationship with Karovsky. Brittany catches her giving an interview to Jacob Ben Israel about their prom court campaign (seriously, the constant school media attention in this episode is OBNOXIOUS). We saw this coming, but I’m actually enjoying the way they are handling this plot. Often this season, they solve things too quickly and I like that they’re taking their time with an issue that is so difficult.
“What did I do?” – Rachel
“I’m sure you did something.” -Santana
Back to the question about Sam and Quinn’s possibly clandestine affair. When we saw Kurt visiting the same motel room where Quinn was spotted, it was fairly obvious that she wasn’t cheating - and come on, Kurt certainly wasn't either. It simply doesn’t make sense. Of course, I wasn’t privy enough to know what was really going on. In the meantime, it provided an opportunity for Rachel to continue to try to drive a wedge between Quinn and Finn with her sleuthing and “Go Your Own Way.”
The song brings out Quinn’s claws and everyone demands an explanation for the rumors about Sam and Kurt’s possible affair and Sam and Quinn’s possible affair. It turns out Sam's dad lost his job and his whole family lives in the motel room and that Kurt and Quinn were simply helping him. Rachel and Finn flip their switches from sleuthy to caring and apologize to Sam by getting his guitar back from the pawn shop. This would have worked a little better if Chord Overstreet was a bit of a better actor and it was a bit of a melodramatic twist, but I like that Sam’s got a little more of a relatable backstory other than his shyness about his “trouty mouth.”
By the end, though Rachel and Quinn are fighting over Finn, Santana broke Brittany’s heart, Will is distraught over giving up his Broadway dreams for the kids and Sam’s embarrassed about his family’s situation, they all come together to sing “Don’t Stop.” The choreography was a little weird, but Sam was actually a really enjoyable lead singer, surprisingly.
The only thing I wasn’t sure about was whether this performance reinforced Will’s decision to stay, or if he had a furrowed brow because he’s unsure he wants to stick with his decision. Hopefully this is a set-up for more conflict and not a one-off plot point that will be erased in the next episode. They're going to New York for nationals though, so I'm sure it will come up again. I’m really enjoying the way they are starting to move a little more methodically with a few of these story lines. Keep it up, folks!
The story of the most dominant racehorse of all time does not easily fit into the standard inspirational sports flick mold. Such films typically require its protagonists to overcome seemingly insurmountable obstacles be they competitive (Hoosiers) personal (The Natural) societal (Ali) or some combination of all three (Remember the Titans). But by all accounts the greatest challenges to Secretariat capturing of the 1973 Triple Crown were not rival horses — indeed Secretariat had no true rival — but a pair of slow starts and an abscess. And abscesses — apologies to dermatologists — simply aren’t all that effective as dramatic devices.
Lacking most of the vital ingredients of the traditional underdog movie formula Disney’s Secretariat is forced to synthesize them. Its screenplay written by Mike Rich and based rather loosely on the book Secretariat: The Making of a Champion by William Nack adopts a conventional save-the-farm framework: When her parents pass away within months of each other Denver housewife Penny Tweedy (Diane Lane) is advised to sell off her family’s Virginia-based Meadow Stables a beautiful but unprofitable horse-breeding enterprise in order to pay the onerous inheritance taxes levied by the state. But Penny her deceased father’s hackneyed horse-inspired counsel fresh in her mind (“You’ve got to run your own race ” etc. etc.) is loath to depart with such a cherished heirloom. So she concocts a scheme just idiotic enough to work betting the farm — literally — that her new horse Big Red in whom she has an almost Messianic faith will win the Kentucky Derby Preakness and Belmont races in succession.
Of course Big Red under the stage name Secretariat goes on to do just that but only after the film subjects us to nearly two hours of manufactured melodrama. Lane grasping all-too conspicuously for awards consideration treats every line as if it were the St. Crispin’s Day speech. Her character Penny exhibits a hair-trigger sensitivity to the sounds of skeptics and naysayers bursting forth with a polite rebuke and a stern sermon for anyone who dares doubt her crusade from the trash-talking owner of a rival horse to her annoyingly pragmatic husband (Dylan Walsh).
Lane isn’t alone in her grandiosity. The entire production reeks of it as director Randall Wallace lines the story with fetid chunks of overwrought Oscar bait like so many droppings in an untended stable even using Old Testament quotations and gospel music to endow Penny’s quest with biblical significance. John Malkovich is kind enough to inject some mirth into the heavy-handed proceedings hamming it up as Secretariat’s trainer Lucien Laurin a French-Canadian curmudgeon with an odd sartorial palette. It’s not enough however to alleviate the discomfort of witnessing the film's quasi-Sambo depiction of Secretariat’s famed groom Eddie Sweat (Nelsan Ellis) which reaches its cringeworthy zenith when Sweat runs out to the track on the eve of the Belmont Stakes and exclaims to no one in particular that “Big Red done eat his breakfast this mornin’!!!” Bagger Vance would be proud. Whether or not Ellis’ portrayal of Sweat’s cadence and mannerisms is accurate (and for all I know it may well be) the character is too thinly drawn to register as anything more than an amiable simple-minded servant.
Animal lovers will be happy to know that the horses in Secretariat come off looking far better than their human counterparts and not just because they’re alloted the best dialogue. In the training and racing sequences Wallace effectively conveys the strength and majesty of the fearsome animals drawing us into the action and creating a strong element of suspense even though the final result is a fait accompli. It's too bad the rest of the film never makes it out of the gate.
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.