While Rogue One was (understandably) missing a scroller at its start, Assassin’s Creed introduces a few concepts to any bewildered audience members before the action starts.
The Assassins fight the Knights Templar. In this episode of ill will, they’re searching for the
“Violence is a disease like cancer, and like cancer we have to control it one day.”Given its video game heritage, the filmmakers have cleverly bridged the divide by including various game elements in the big screen production. What feels like a ‘loading screen’ appears to announce a time-shift. The camera follows a soaring eagle that glides into the new location. The ghostly projections that the institute’s staff see while Lynch is exploring his predecessor’s life feel very computer generated. Though the producers stopped short of putting an Assassins vs Knights Templar scoreboard up in the top left of the screen to capture the body count.
It’s quickly obvious that scientific endeavour is not immune to the evil desires of powerful organisations and the kind of clearly wicked men who sit playing the piano while watching recordings of themselves delivering speeches to the UN.
The father/son relationship of disappointment and surprise within the Lynch family is mirrored with a similar relationship between visionary father Alan Rikkin (Jeremy Irons) who wants to perfect humankind and daughter Sophia Rikkin (Marion Cotillard) who is the brains behind the science and the more idealistic of the pair (and also played Lady Macbeth opposite Fassbender last year). Charlotte Rampling plays the chief of the Elders, a powerful woman with an air of mystery who is unfortunately underexploited in the script.
Director Justin Kurzel creates a world without brash colours, and his brother Jed Kurzel scores its musical background (throwing in some electric guitar amongst the orchestral manoeuvring).
There’s an abundance of stone buildings, smashed glass, jumping through holes in roofs, furious fighting and spilt blood, while there’s absolutely no glamour, other than the architecture and Marion Cotillard’s nurse’s uniform. If you’re going to convert a game into a film, then that’s in essence what needs to be captured. And capture it they have. Apparently 80% of the action was live rather than CGI, though it’s clear that nearly every scene will have involved green screen or digital manipulation of the set and background to enhance the scale.
Assassin’s Creed is a video game that has been squeezed into a virtual reality time-travelling regression machine and borrowed its chase sequences (though only one motorcycle) from the Jason Bourne franchise with a very small sprinkling of Highlander and Dan Brown.
It’s essentially a fantasy adaptation. Relatively pointless. But it’s one that will appeal to hard core gamers who appreciate that elements of the Assassin’s Creed world normally restricted to their PC and console screens has exploded into their local multiplex. And while it won’t push you back into your cinema seat or make you grip the armrest until your knuckles go white, it probably will spawn future cinematic releases to explore other time periods through the eye of battling descendants.
Assassin’s Creed opens in Movie House cinemas (and others) on 1 January.