Centurion


3/4

Starring: Michael Fassbender, Dominic West, Olga Kurylenko

Rated R for Sequences of Strong Bloody Violence, Grisly Images and Language

“Centurion” is a new film from director Neil Marshall, and while it’s not as good as “The Descent,” or even “Dog Soldiers,” it’s still a bloody good time.

It’s AD 117.  The Roman Empire is growing, and it’s attemptin to stretch its reach into the northern parts of Britain.  They are facing fierce resistance from a tribe called the Picts.  After a brutal battle, a handful of stragglers, led by Quintas Dias (Fassbinder) must try and get to safety.  The problem is that they are being pursued by a skilled tracker named Etain (Kurylenko).

The film is essentially one long chase movie.  But by fast pacing punctuated by brutal, bloody violence and a streamlined plot, director Neil Marshall avoids letting the film slip into tedium.  The film is always involving, and the second half is really exciting.

The acting is perfunctory, which is to be expected in a movie like this.  There’s really no time for deep characterizations or subtle acting.  Michael Fassbender is making a name for himself in Hollywood; with roles in the new X-men movie and Ridley Scott’s “Alien” prequel, he’s on his way to the A-list.  That’s not a bad thing because he deserves it.  Still, all his role requires is that he doesn’t choke on the dialogue and kick ass in a satisfactory fashion.  He succeeds on both counts.  Dominic West plays a significantly less sleazy character than in his other ancient-times action film (“300”), and he does well.  Olga Kurylenko is menacing as Etain, but she doesn’t have any dialogue (Etain’s tounge was ripped out).  The only real acting is done by JJ Field, whose Thrax is suitably loopy.

I like Neil Marshall.  I loved “The Descent” and liked “Dog Soldiers” almost as much.  He has a good flair for action and spares the audience nothing when it comes to the red stuff; unfortunately, there are times when the blood splatter looks computer generated.  There’s a little bit of humor in the film too (Mashall gives a new meaning to the term “eating on the run”).

The only real flaw is that the voiceover is intrusive and often redundant.  It’s not needed and jerks the viewer out of the moment.  Still, this is a solid thrill ride.

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