The Hitman's Bodyguard Thrives On The Strength Of Its Main Stars Who Elevate It To The Status Of Being Decent Fun

 

      When it comes to making action buddy comedies, the filmmakers behind them often rely on the films chosen stars to perform the main body of work in regards to making each respective story an extremely fun and satisfying ride, even if the films often feel as if they're coasting on the backs of their cleverly well-casted duos. With The Hitman's Bodyguard, the filmmakers choose to capitalize on the star talents of Deadpool's Ryan Reynolds and Pulp Fiction's Samuel L. Jackson with the two making for an unusual pairing, which adds some much-needed flare to a script that's heavily reliant on both generic elements and subplots from other films within the genre. The Hitman's Bodyguard serves as being an average action and buddy comedy, that's ultimately made entertaining to watch due to the hilarious banter of its main stars, who are often used to deflect from the stories overreliance​ on cliched elements from other numerous films that walk similar beats.

      The plot for The Hitman's Bodyguard centers around a bodyguard (Played by Ryan Reynolds) whose down on his luck after failing to prevent the assassination of a high-powered client. He finds himself guarding a notorious hitman (Played by Samuel L. Jackson) whose in the process of being transported to the Hague to testify against the Belarusian president (Played by Gary Oldman). Looking at the storyline for The Hitman's Bodyguard, one can see that there's nothing particularly groundbreaking nor innovative about it as its concept has been done before by other filmmakers. Despite the lack of originality, the film manages to succeed largely thanks to the unexpected chemistry that both Reynolds and Jackson bring to the screen along with the welcoming presence of Gary Oldman and Selma Hayek in supporting roles. As the film shows, both main actors are the sole reason that The Hitman's Bodyguard provides audiences with a good time as being ridiculous entertainment that's surprisingly witty, appropriately over-the-top, and smoothly acted with both energy and enthusiasm from its main stars. Whereas the execution of the story falls within the category of being generic, it's the presence of its main stars as well as the films impressively directed action sequences and comic book style fun, that ultimately make it worthwhile in terms of viewing.

      The key element that makes The Hitman's Bodyguard as explosive and entertaining as it comes across, is the enormous amount of silliness and energy that it's main cast brings to the table with the life of the film coming from the fantastic teaming up of both Ryan Reynolds and Samuel L. Jackson on screen together. This is a pairing that audiences wouldn't immediately think of nor put together, but the films casting director deserves major props for imagining the combination because it effectively works here and is fantastic. Ryan Reynolds continues to impress audiences with his charisma with him playing Michael Bryce, a former triple A rated executive protection agent and CIA officer. Reynolds makes his character likable and serves as being a fitting sidekick to Jackson's, despite appearing as being a bit of a pushover in comparison. Samuel L. Jackson is equally good as Darius Kincaid/Evans, one of the Kincaid world's most notorious hitmen. As solid as Reynolds is in his role, Jackson carries the higher ground with his part with him being allowed to do his best acting which is to be Samuel L. Jackson. Both men share tremendous chemistry and stand as being the films main strongest point with it often struggling when they aren't around. Though his role is more serious in comparison to the main leads, Gary Oldman proves effective as Vladislav Dukhovich, the dictatorial President of Belarus who serves as being the films main antagonist. When both Reynolds and Jackson aren't on the screen, Oldman commands it though his role is smaller in comparison which makes him feel a bit wasted given his range. Selma Hayek manages to be a fun surprise with her minimal role as Jackson's wife Sonia Kincaid. The script doesn't allow her to do much given her characters circumstances but the moments that she's on screen, she manages to steal the show with her character bits. Elodie Yung gives a notable performance as Michael's ex-girlfriend and Interpol agent Amelia Roussel, who shows conflicting feelings towards her ex. As a whole, the cast for The Hitman's Bodyguard plays a large role in the film being reasonably solid entertainment for audiences with everyone attempting to bring a sense of charm, as well as professionalism to the production. As noteworthy as the performances from the supporting cast come across, it's the work of both Reynolds and Jackson that make the whole experience worth sitting through even if the plot doesn't particularly offer anything new or exciting.

      The films directing by Patrick Hughes ranges as being relatively standard for this type of film with him impressing with the films action sequences, while letting the actors do a significant chunk of the work in regards to bringing the story to life and making it genuinely fun to watch. He gives the film a comic book style level of violence, that adds to the appeal of the plot with him rightfully giving the story its R rating, allowing it to be edgy. The film is well-shot with cinematography that makes it appear both flashy, as well as being visually appealing to look at with the film containing some beautiful shots of Europe with the Amsterdam action sequence being a well-executed piece of action choreography. The pacing is quick from the start with the film being tightly edited. The story especially jumps into hyper-drive when the audience discovers that the two are former mortal enemies. The films violence is edited quick to appear as being fast-paced, particularly the sequences involving shootouts where bullets are shown traveling through characters with quick glimpses of gore that reinforce the films R rating. The directing that Patrick Hughes gives the film aims to match the over-the-top nature of the plot with him throwing exotic settings at the audience as well as chase sequences involving motorcycles, boats, and cars mixed with good old-fashioned shootout sequences to provide audiences with a genuinely satisfying experience full of solid popcorn entertainment. For the most part, he succeeds here despite his directing doing nothing impressive outside of the action sequences and generally feeling like an average action comedy flick, that largely relies on its main stars in order to be successful. It also doesn't help that the films script isn't that strong to begin with.

      The screenplay written by Tom O' Connor is where the film ultimately suffers as the story lacks both creativity and boldness to present audiences with something fresh with the end result coming across as being extremely formulaic. The writing appears to be rather bland outside of the witty dialogue between its two main stars with the main plot feeling shallow. The films main message saying that ones instincts should always be trusted, doesn't feel thoroughly explored for it to be plainly visible to the audience. With the exception of Reynolds and Jackson's characters, the side characters all feel like stereotypical ones that only operate within the mechanisms of the plot with no real personalities being given to them. Besides being linked to the main characters, audiences simply don't find themselves caring much about either Selma Hayek's character or Elodie Yung's as audience aren't given much interaction with their characters to be thoroughly developed. The same can also be said regarding Gary Oldman's character with his part coming across as being a one-dimensional villain, whom the audience are supposed to buy as being both fearful and intimidating without much background given to him as being a dictatorish figure. There's nothing about the plot for The Hitman's Bodyguard that allows it to standout from other action comedies nor get the audience to become invested in the storyline outside of the film focusing on its main characters. The filmmakers place so much emphasis on them as a winning duo for the story, that the films energy feels as if it stalls whenever they exit the screen and the film goes back to its basic plot, showing just how much the film relies on and ultimately is able to work based on both their talents and chemistry alone. For an action-packed and comedic storyline which aims to appeal to the fanbases of two famous movie stars, one would think that much more effort would go into writing a script that's worthy of their sheer talents, not feeling beneath it. Unfortunately it feels as if the latter happens here as the script lacks both the creativity and depth to make it work as being something truly special rather than being forgettable work.

      Overall, The Hitman's Bodyguard isn't a terrible film in any sense of the word but it also doesn't manage to be a great one. It ultimately falls within the category of being passable to average entertainment thanks largely to the unique pairing of its main stars. The film is essentially a recycling of all the familiar tropes of a traditional action buddy comedy with nothing new or compelling being added to the mix. When the film is focused on its two main figures, it works and manages to elevate itself into being something that's fairly decent to watchable. When they're not around, the story struggles and becomes uninspiring with the audience begging the film to bring Reynolds and Jackson back. The film knows that it isn't anything high-art, and aims to deliver some solid popcorn entertainment with audiences being expected to excuse the mediocrity of the story because of the fact that Ryan Reynolds and Samuel L. Jackson are the main stars. It aims to be well-received on the basis of its main duo being a neat setup, that the rest of the film becomes painful to watch in regards to how little effort went into trying to add more depth to its story rather than recycling old plot twists and subplots, that audiences have seen before in other movies. The charismatic performances of its leading men go a long way in regards to making the film something that's able to be considered as being fairly enjoyable to watch, but doesn't particularly make it a good nor strong film as a whole. It just falls within the category of being okay with both the main cast saving it from being a total waste of time. Not even the films desperate attempts to outdo every previous plot twist set before it succeeds in capturing the audiences shock or attention. This is a film that coasts too much on the strength of its key players, and ultimately suffers from an extreme bad case of painful mediocrity. No one who watches this will find it to be neither a remarkable nor artsy piece of work, but those looking to experience both a wild and whacky ride with Ryan Reynolds and Samuel L. Jackson in the leading roles will find it to be understandably fun under the right conditions of watching it as both actors appear to be at home with this type of film in terms of playing their roles. They truly are the only reasons anyone should ever give this flick a watch as nothing else about it works in terms of being memorable. One hopes that any future sequels that Reynolds, Jackson, or Hayek pursue will have more thought being put into their stories with much stronger scriptwriters, that'll rightfully give each star more to work off of next time.

Final Verdict: Fans of both Ryan Reynolds, Samuel L. Jackson, and buddy action comedies in general will find The Hitman's Bodyguard to be a passably fun experience that's powered by its main stars.

Central Intelligence Is A Bland Action Comedy That's Made Entertaining By Its Main Leads

     When it comes to making successful action comedies, one of the key elements that make them appealing to audiences is the placing of two mismatched yet charismatic stars with both possessing comedic talent, making them an ideal pairing that ends up being one which audiences ultimately become excited to see. These comedic foils, if well matched, can take any concept handed to them and make it work regardless of how silly and unrealistic the story comes across. With Central Intelligence, the filmmakers find their winning duo with the films unlikely pair of stars Dwayne Johnson and Kevin Hart, taking a largely average script that relies heavily on their surprisingly strong chemistry to work, and making it do so as a hilariously solid effort that works solely based on their hugely entertaining presence in the films main roles. While Central Intelligence doesn't bring anything new or groundbreaking to the genre, it delivers on its promise of providing its audience with mayhem that's both entertaining and fun from start to finish.

      The plot for Central Intelligence revolves around a bullied overweight teenager now becoming a well-built CIA agent (Played by Dwayne Johnson), reaching out to his former classmate (Played by Kevin Hart) who went from being the schools star athlete to becoming a nervous accountant now. Revealing his identity of being a CIA agent to his former classmate, he seeks his help in saving the US satellite surveillance system despite his friends reluctance to confront danger, though ultimately finds himself being co-opted as well as involved in a series of intrigues and gunfights. The plot for Central Intelligence comes across as feeling particularly standard for a comedy with many of its subplots feeling generic, but the film is ultimately saved and made watchable largely due to the on-screen presence of both Johnson and Hart. Being a completely awkward matchup that feels as if it comes totally out of left field, the pairing of the two proves to be a clever move that elevates the script into being something that's workable with the two main leads playing with the films goofy yet effective plot. The film ultimately wouldn't work nor pass as being reasonably decent entertainment if it weren't for the strength of its main stars, who provide the film with enough laughs and charisma to overlook the blandness of the plot. Central Intelligence serves as being a comedic buddy-cop vehicle that's designed to work based on the charming presence of its main leads, and should only be both viewed and enjoyed as such. The film won't blow anyone away with its storytelling, but it makes for a solid way to kill two hours if one doesn't have anything else to do in particular.

       The filmmakers behind Central Intelligence owe much of its success to it's two main leads, who rightfully become the main attraction of the story (As well as being the only reason to see film). Both Dwayne Johnson and Kevin Hart are hilariously fun to watch with them completely immersing themselves into the films absurd plot, and having a blast with it. Johnson is absolutely fun and convincing as former bullied and friendless high school student-turned-big bodied CIA agent Bob Stone. He does a great job of conveying Stone's nerdish side, which made him a target for kids to bully him along with switching into both Spy mode, as well as the vulnerable young Bob who was humiliated infront of his peers years prior with him still being traumatized by it. As hilarious as Johnson manages to be in his role, Kevin Hart delivers an equally charismatic and witty performance as the former star athlete turned accountant Calvin Joyner, who faces marriage issues upon encountering Bob again and being shocked by his former classmates transformation into a massive body-building Spy. Hart possesses great comedic timing and enthusiasm, that's equal to Johnson's with the two being a terrific duo for the film with nearly all of their jokes landing without feeling overlong or cheesy. Both actors make for being the best comedic partners and do brilliant jobs of selling the plot to audiences, regardless of how generic it feels. The rest of the supporting cast does well with working off the energy of the main stars with Amy Ryan giving a notable performance as CIA agent Pamela Harris, who suspects that Bob is a rogue agent. Breaking Bad's Aaron Paul makes the most of his minimal role as Bob's former partner Phil Stanton, who's believed to be dead after being killed in action. Despite the majority of Paul's scenes being mainly flashbacks, he still manages to leave a likable impression with audiences overall with him trying to add depth to his role. Danielle Nicolet also manages to shine with her small role as Calvin's high school sweetheart turned wife Maggie Joyner with Joyner's character being completely clueless regarding her husbands situation with Bob, and wanting her marriage with Calvin to be stronger with them overcoming their issues of it appearing rather bland. As a whole, the cast for Central Intelligence has much to do with why the film works as being passable entertainment with everyone attempting to make the most of a surprisingly bland script with both Johnson and Hart getting the farthest with their lightning-in-a-bottle chemistry, that goes a long way with making the whole experience ultimately enjoyable to watch with the rest of the cast complimenting their efforts.

      As impressive as the main casts efforts come across in making the film watchable for audiences, the same can't be said about its directing with the effort being put in by Rawson Marshall Thurber being a serviceable one at best. Thurber doesn't bring anything groundbreaking nor new to the table with him relying heavily on the strength of his main stars to make the foundation of the story work. Where Thurber does succeed at is giving his two leading men enough freedom to play their roles accordingly, while developing the proper comedic timing that makes their duo such a highly effective one. Besides that, the film carries the same generic style that many comedies possess with the cinematography, though sharp, being nothing particular to write home about. The story moves at a brisk pace for a traditional action comedy with the audience getting the films laughs in, and ultimately being released before the story feels as if it's unnecessarily dragged out. With a film like Central Intelligence, the directing doesn't need to be anything impressive nor memorable as the story relies heavily on the strength of its main leads to do much of the work. Thurber's strategy here is basic with him pointing the camera at the main stars, and letting their chemistry speak for itself. One can say that Thurber is on cruise control here with his strategy always being to let the energy and enthusiasm of its main cast be the films pulse. Thankfully, that ends up being the case as nothing else here impresses or stands out. The films action sequences are decent but never manage to make up for the lack of intelligence the films script carries.

      The screenplay also written by Thurber with Ike Barinholtz and David Stassen, provides the concept that both Johnson and Hart successfully play off, but doesn't deliver an enormous amount of depth, leaving both actors to fill in the blanks with their performances. At best, the writing comes across as bearable with the biggest issue with the script being how underdeveloped it feels with it not appearing to take any risks with neither its story or characters. The scripts themes regarding personal appearance, bullying, respect, and self-confidence despite being important ones in the story, are barely touched upon with the films message saying that bullying should be stopped within all levels of society, coming across as being a mixed one given that Dwayne Johnson's character has to bulk up to appreciate himself along with finally being accepted by others. Every element or subplot presented here feels as if its been lifted from other films with similar plots with nearly everything feeling familiar and uninspiring to audiences in regards to the writing. The scripts shortcomings in terms of plot development shows just how much influence that the films main leads have in making the overall effort work as a whole with their fantastic duo managing to deflect from much of the stories shallowness. The script carries subplots that come across as being both generic and predictable for the action-comedy storyline such as Hart's character being revealed to have problems regarding his marriage with his experience with Bob strengthening their relationship in the end. Another cliched subplot is the CIA misguidedly believing Bob to be the main antagonist of the story with it later being revealed that his old partner (Played by Aaron Paul) is not only alive but faked his death, and is the actual culprit behind trying to compromise the US satellite system. The characters are presented as being stereotypical figures, who are predictable to read with no real depth or surprise twist to accompany them. The script for Central Intelligence delivers nothing that audiences haven't seen before with this type of comedic genre, but the films well-written and playful humor ends up ultimately saving it. Whereas some of the films jokes may come across as feeling too over-the-top and raunchy, they ultimately add to the silliness of the story that the main characters find themselves in with the overall experience being a fairly entertaining one if audiences can overlook the numerous shortcomings of the script.

      As a film, Central Intelligence doesn't offer audiences anything special and will leave them wishing that more effort was put into the writing department to make both the characters and story somewhat more interesting. However, as a comedic piece, the film delivers solely based on the clever duo the filmmakers provide with Johnson and Hart filling the screen with numerous moments of laughter and gunfire (The latter has more to do with Johnson's character being a Spy). It's interesting to watch the filmmakers attempt to make Dwayne Johnson appear to be a bit uncool with his character given his vulnerability in regards to being bullied in High School, but it helps in adding to the heart that he brings to the story. Harts character is also shown to have a more toned down presence from his usual obnoxious behavior with the end result paying off as the two succeed in slightly playing against type, and making for a pair of well-matched comedic foils. This is a film that shouldn't​ be watched with one looking for in-depth and clever scriptwriting as the latter is non-existent here. The concept of Central Intelligence is one that carries a genuinely fun hook, but the end result is a bare-bones script that feels as if it deliberately aims to coast the film on the back of both Johnson and Hart with fun cameos from other comedic stars such as Jason Bateman and Melissa McCarthy, making their way into the mix. The film should be enjoyed based on the merits of its strong leading men, who can take what's essentially a weak script and make it into something that's ultimately workable with the end result serving as being a passable form of entertainment. One hopes that much more effort goes into making the planned story for Central Intelligence 2 stronger as the writing here leaves much to be desired. 

Final Verdict: For fans of both Dwayne Johnson and Kevin Hart as well as action comedy fans, Central Intelligence works as being a passable form of entertainment mainly due to the surprisingly charismatic performances of its main leads.

Robin Hood Gives Audiences A Pointless Reboot That Lacks The Thrills and Suspense Of Its Iconic Hero

      Whereas Hollywood is dominated by comic book films and sequels, there's also a long list of unnecessary remakes or reimaginings of classic stories which have already told far more effectively on film. These films have no other reason to exist other then the studios misguided insistence that audiences want to see these films. That appears to be the case with 2018's Robin Hood with the film serving as being a retelling of the classic story that absolutely no one asked for. The newest version aims to take the story and modernize it for today's generation with an enhancing of the films action and special effects. Despite its attempts to give the story a new type of makeover, the end result feels like a pointless cash grab of a legendary tale that audiences know by heart. The new version of Robin Hood brings nothing new to the table in regards to being groundbreaking nor inventive with its story. While the film looks appealing visually, it lacks the heart and thrills of the previous adaptations that made the story a such a timeless tale that filmmakers unnecessarily feel the need to revisit every generation.

                           

      The plot for the newest Robin Hood centers around the Nottingham hero Robin of Luxley (Played this time by Kingsman's Taron Egerton) acting as a crusader who returns from the Holy Land to find that both his lands and property have been confiscated and left in ruins. He begins a revolution against the local corrupt church authorities along with the Sheriff of Nottingham himself. To audiences in general, the plot for Robin Hood is nothing new or original as everyone whose seen the Disney animated film or all the numerous live-action retellings, that came after know the gist of the new films plot. What the filmmakers of the new Robin Hood aspire to do is reintroduce the same story to a new generation of audiences, while making the action faster and more appealing as eye-candy. It also benefits that the films new cast is appealing with Taron Egerton, Jamie Foxx, Eve Hewson, Jamie Dornan, Tom Minchin, and Ben Mendelsohn all being quality actors whose talents ultimately feel wasted on an unnecessary reinvigoration, that lacks the thrills and excitement of the main hero it glorifies. Instead, the newest Robin Hood feels like a wannabe Batman Begins style version of the story mixed with 2001's A Knights Tale and CW's Arrow. There's nothing shown in the newest retelling that audiences haven't seen before, which brings them to beg the question of why even bother with another attempt to reimagine the Robin Hood story if the filmmakers were never going to take the story in any type of new direction.  The film serves as being a complete waste of audiences time along with its talented cast as they could've been working on something more worthy of their dedication and efforts to make the film a satisfying experience for audiences. The newest Robin Hood desperately tries to justify its existence as being a reboot that's​ somehow required for the legendary character, but can't bring itself to give any compelling reasons on why it was even necessary to bother with retelling the story or why audiences should even care to watch it, as the story has been both done to death by much stronger filmmakers. 

                          

      One of the films few redeeming qualities is the strength of its main cast with them delivering performances, which allow them to make the most of their experience despite not being enough to save the film ultimately. Taron Egerton has proven himself through other works to be a highly dependable and quality actor with him making for an inspired choice as Robin of Luxley. Despite his casting appearing as promising, he only manages to be passable as he lacks the charisma of previous actors who played the part of Robin Hood. Jamie Foxx makes the most of his role as a fierce Arabian Warrior and Robin's best friend Yahya ibn Umar, with his character aiding Luxley in his quest after losing his son at the hands of the corrupt Church. Egerton and Foxx showcase fairly solid chemistry, though it's nothing amazing to write home about. Eve Hewson is appealing as Robin's love interest Maid Marian with her romance with Egerton coming across as being relatively believable. Ben Mandelsohn manages to deliver a strong performance as the films main antagonist, the Sheriff of Nottingham. Whereas the film struggles around both him and Egerton, Mandelsohn is able to steal the show with his characters menacing presence. The rest of the supporting cast give noteworthy performances with Tim Minchin as team Robin's goofy yet loyal ally Friar Tuck, Jamie Dornan as Marion's love interest, local politician, and Robin's rival Will Tillman. Although Dornan's character comes across as being completely generic and predictable, he still manages to deliver a serviceable performance. F. Murray Abraham leaves a likeable impression as the Cardinal Franklin despite his character having a minimal part. The cast for Robin Hood is strong with the film boasting some serious talent, which ultimately makes it hugely disappointing that they didn't have a script that's more worthy of their talents to work off. All of the actors shown in the film are capable of delivering fantastic work when the right material is handed to them. None of the acting in Robin Hood stands out as being truly phenomenal work with the performances as a whole ranging from being serviceable to decent work with the best acting coming from Egerton, Foxx, and Mandelsohn. Given how strong of an actor that Egerton has proven himself to be, it's a shame that the script isn't developed well enough for him to showcase his full range as a talented dramatic actor.

                           

      The films directing by Otto Bathurst proves to be flashy with him imitating a style of filmmaking that's similar to Guy Ritchie's. Given that this is his directorial debut, one can see the hard effort that Bathurst puts into making this latest adaptation of the story work but it ultimately doesn't in the end. Bathurst aims to make this a Batman Begins style reboot for the character with him making extra sure that the action is faster and more amped up than anything that's been shown before with the character. On a technical side, the film is appealing with the costume and set designs both effectively matching the time period of the story, adding a rich flavor to it. The film is well shot with cinematography that consists of quick cuts, slow-motion shots, and frentic editing that makes the arrow action sequences feel quick and larger-than-life. The pace is steady for the films 116 minute running time but Bathurst ensures that the story remains action heavy with largely impressive action sequences to maintain the audiences attention as both the story and characters progress. Bathurst's efforts here prove to be serviceable as he manages to bring the world of Nottingham to life in a fashion, that appears stunning to audiences while carrying a feeling of grittiness to it that reeks of a Guy Ritchie flick. The film tries so hard to imitate that filmmakers style of directing, that one would almost think he directed it if they didn't look at the directors name in the credits. While Bathurst does well with crafting exciting and thrilling action sequences, he fails to put his own stamp on the film with it feeling as if he's imitating someone else's style of directing rather than creating his own vision of Robin Hood's tale. The film often feels as if it aims to maintain the audiences interest by stacking up the films action sequences and making them as impressive as possible without putting the same amount of effort into its screenplay. Bathurst clearly could've done more here but prioritizes the action without properly taking the time to flesh out the story and characters. At times, the action often feels like a curtain to distract the audience from the realization that he's not even trying to.

                           

      The films biggest downfall lies within its painfully cliched script written by Ben Chandler (Who also penned the story) and David James Kelly. The script goes to extreme lengths to modernize the story for today's audiences, while managing to tack on every predictable and generic subplot that's been done before in past Robin Hood and vigilante style films. The romantic triangle between Robin, Marion, and Will feels completely forced and predictable with audiences knowing that Marion will choose Robin over him in the end, especially when she discovers that the former is the hood standing up to the corrupt church and helping the poor. The film attempts to introduce an interesting subplot involving both Robin and the Sheriff of Nottingham being friends with the latter not knowing of the others secret identity until finding out later that his friend is the one defying his rule. Lucky's deceitfulness in not revealing his identity makes him come across as being a Bruce Wayne type persona. While such a subplot has potential to be good on paper, the execution of it is poorly handled with the Sheriff not appearing to be shocked nor enraged at the revealing of Luxley to be the hood he's pursuing. The characterization of the characters feel both one-dimensional as well as being cardboard cutouts of other characters shown in different movies with Tim Minchin playing the generic loyal companion of Robin Hood, and Marion's​ character being shaped to be the young rebellious and idealistic love interest to the main hero, who secretly still harbors love for Robin's character while conveniently having no clue of his secretive and noble deeds. The Sheriff Of Nottingham doesn't carry much of a character arc or personality with the film insisting that the audience despise him for the sake of him being the Sheriff of Nottingham without much being shown for the audience to totally despise his character. Jamie Foxx's character carries an interesting arc with him beginning on opposite sides of Luxley with him being distrustful of the young hero before befriending and training him to take revenge on the church. The newest version of the Robin Hood story goes out of its way to make the title character younger than most adaptations, while giving him a tragic backstory that draws instant comparisons to Martin Campbell's The Mask Of Zorro. This version of the classic story has Robin returning home to discover that the evil Sheriff of Nottingham has seized his family estate and taken his love away from him. Vengeful of the horrific acts committed upon him and others, he goes on a Bruce Wayne/ Batman Begins style training montage to learn how to efficiently fight back against his oppressors while instilling hope with the people of Nottingham. The biggest problem with the newest Robin Hood story is the film isn't quite sure what it wants to be with it wanting to be a definitive retelling of the story while managing to go out of its way to set up a sequel that audiences will never see (Nor do they wish to given the films poor reception and box office returns), yet the film borrows subplots and elements from other films with stories that cover similar themes such as power, greed, vengeance, hope, freedom, and justice. The script also draws comparisons to today's modern political landscape with the Sheriff of Nottingham being made to represent a Donald J. Trump type figure with the corrupt church being modeled to represent a more current establishment that's based around fear mongering, the misleading of information, the thirst for absolute power, stealing, and taxes. The message that the new Robin Hood aspires to drive home with both its unbalanced narrative and story-structure, is that one is only powerless if they believe they are powerless. With a fitting message that matches the courage, heroism, and bravery of the films main heroic character, it's a genuine disappointment that the script doesn't feel as inspired as the films overall message.

                             

      The biggest question that one will have when watching the newest Robin Hood is who was this film intended for. One can see the intent behind the filmmakers in drawing comparisons to today's world with the films numerous themes, but the film isn't quite sure which target audience it aims for. The action is excessively handled to the point where it feels over-the-top and unrealistic with the obvious conclusion being drawn that the film aims for a young teenager audience (Which is also evidenced by the making of the Robin Hood character to be much younger than his previous film adaptations). The switching out of the traditional green attire and the placing of black leather jackets on the main characters, also gives off the notion that the film aims to deliver a newer and hip version of the story for today's youth with the main character feeling like an Arrow type of hero/outlaw vigilante. Besides these minor changes, there's nothing new here that makes the new Robin Hood story particularly groundbreaking nor warrant a new retelling as it only borrows elements from previous works, as well as other vigilante type films to make it whole. The new film lacks any type of charisma and humor to make it appealing rather than feeling like a stale reimagining with no heart or soul behind it. Given how strong of a cast the newest version boasts, the film serves as being a waste of their talents as well as everyone's time and money that could've went to something more creative and genuinely more satisfying than what the filmmakers try to present here. Robin Hood 2018 rightfully earns its place as being one of the years biggest bombs with fans of the characters mythology, as well as both Egerton and Foxx being encouraged to disregard this painfully disappointing attempt at reviving an already well-established character and story and revert to a more entertaining version of the main character. It also manages to make the previous questionable adaptations of the Robin Hood tale look more perfect in comparison like 1991's Prince Of Thieves or Ridley Scott's 2010 critical misfire. The only thing that the new Robin Hood manages to steal is ones time and money that went into watching this mess.

Final Verdict: Fans of Robin Hood and both Taron Egerton and Jamie Foxx should most definitely skip the latest reimagining of the Robin Hood story and settle for rewatching Prince Of Thieves instead.

 

Maggie Surprises As An Effective Horror Drama With Schwarzenegger Giving The Best Dramatic Performance Of His Career

      When audiences become used to seeing an actor or actress in a particular type of role, it becomes difficult for that person to be viewed in any other form than what the general public perceives them as being. Though when that chosen actor gets the opportunity to go against type and prove themselves as a serious actor, most cases often has that effort being overlooked. Very few actors have successfully made the transition from one genre to the next such as Robin Williams and Tom Hanks. With Arnold Schwarzenegger, audiences fondly remember him as The Terminator along with his noble attempts at comedy such as Twins, Kindergarten Cop, and Junior. Despite his ability to handle both genres, audiences questioned whether he could play a more serious dramatic role as his range has never been properly tested. With Maggie, audiences finally get to see Schwarzenegger handling a dramatic performance with him playing a straight father-figure trying to protect his daughter as she slowly transforms into being a Zombie. Though the film received little attention upon its initial 2015 release, Schwarzenegger's​ performance is often looked upon in high regard with it standing as being his most serious acting performance to date. That praise appears to be ​well-warranted as Maggie proves to be a different type of film than what Schwarzenegger is generally accustomed to starring in. The film is a quieter dramatic piece in comparison to the loud explosive action movies that Schwarzenegger generally plays in, but the performances as well as its thoughtful yet heartbreaking story make the film as powerful as it ultimately ends up being despite being horror-oriented. Maggie stands as being one of 2015's most overlooked films with key performances from both Schwarzenegger and Abigail Breslin being brilliantly understated. 

       The plot for Maggie centers around a loving father Wade Vogul (Played by Arnold Schwarzenegger) standing by his daughters side as she slowly transforms into a cannibalistic Zombie after being bit by one during an outbreak. Maggie's plot makes it stand apart from the typical Zombie fare with its story taking a more serious and dramatic approach in comparison to being strictly an action and horror-filled experience. The story moves at a slow beat but allows the audience to become invested in these characters, and the world that surrounds them. The film carries a bleak and depressing tone that makes it feel like one long goodbye message from a father to his daughter. What Maggie does well is properly set up the apocalyptic world and atmosphere, that instantly draws the audience into the story while allowing the performances of the main cast to define the film. The movie works as well as it does because of the strength of its main leads with breathtaking cinematography capturing the gloomy atmosphere, along with the emotion on the actors faces. Although the films pace may be too slow-moving for mainstream audiences and turn away those expecting the story to be a more action-oriented experience given Schwarzenegger's involvement, those looking for a different side of the actor will be satisfied to discover the surprising twist of the whole film which is that Schwarzenegger can act. Maggie is an emotionally absorbing horror drama that grabs audiences from the start and doesn't let go until the films heartbreaking final scene. For its main lead, it serves as being a testament that there's more to the iconic action star than just muscles. 

      The films strongest element that makes it work as effectively as it does is the performances from the main cast with both Schwarzenegger and Abigail Breslin giving the best performances of their careers. In Schwarzenegger's case, this is his best acting performance since T2: Judgment Day. He's terrific here and presents himself in a form that audiences have never seen him in prior. He manages to meet the demand in regards to conveying all the right emotions for the part of playing a simple father whose doing everything possible to comfort as well as stick by his daughters side as she slowly turns with him knowing what must be done when the time comes but can't bring himself to do it. For those who thought that Schwarzenegger had little to no range as a serious actor, they only need to look here to see that there's more to him than just playing the typical macho action hero. Along with Schwarzenegger making the film as emotionally powerful as it ends up being, Abigail Breslin delivers an equally moving and scene-stealing performance as Arnold's daughter Wade Vogul. Breslin makes her characters slow demise a gut-wrenching experience with her properly portraying her characters fear and confusion as she slowly changes with her also sharing strong chemistry with Schwarzenegger. Both actors nail the father and daughter dynamic perfectly and add a touch of sentimentality to the story. Along with their performances, Joely Richardson manages to shine as Maggie's stepmother Caroline Vogel with her becoming fearsome of Maggie as her transformation progresses. The rest of the supporting cast deliver notable performances such as Aiden Flowers as Maggie's younger brother Bobby, Carson Flowers as Maggie's mother Molly, Douglas M. Griffin as Sheriff Ray Pierce, and J.D Evermore as Holt. The cast for Maggie has much to do with why the film is so effective as a horror/family drama with the performances bringing sheer realism to the story. The acting delivered by both Schwarzenegger and Breslin alone is top notch and makes the film engaging to watch. It's a shame that the film didn't receive much attention during award season of its release as both performances are worthy of receiving recognition.

      The films directing by Henry Hobson is a solid effort with him doing a noteworthy job of creating a post-apocalyptic feel of the Midwestern location of where the story takes place. He succeeds in giving the film the look and feel of a Zombie story with the twist being that the story plays out more as a family drama rather than a straight-forward horror flick. Hobson gives the film a pacing that's slow enough to allow the audience to become immersed in the story for the films 95 minute running time. For traditional Zombie fans, the slower than usual pace may turn some off as the intention is to make audiences feel the pain and dread the main characters are experiencing given the circumstances of the story. The violence and gore aspect of the story is handled in a way which its usage is minimal but effective in regards to being genuinely creepy for audiences with chilling moments such as the revealing of infected skin, creepy-crawlies, and a character breaking a finger then later chopping it off. While these moments may appear to be brief ones within the realm of the story, they ultimately prove to be most effective in driving home the shock that audiences feel towards it. The films make up effects are reasonably decent given its low budget of being just $1.4 million. Audiences end up buying the slow transformation of Maggie's character from human to Zombie with the effects emphasizing her physical transformation along with the brief glimpses of the other Zombies in the story. The cinematography in Maggie is wonderfully handled with the Midwestern location of the story being well-shot and believable. The films nature scenes are handled in a way which makes them small in comparison to the presence of Schwarzenegger's character despite being beautifully filmed. The movies camera work gives the film a Terrence Malick vibe meets George Romero with it excluding the traditional narration that comes with a Malick flick. The films score is beautifully done in regards to giving the film a presence that's haunting while making the whole experience an emotional rollercoaster ride. Hobson's work on Maggie manages to be effective with him properly bringing the world of the characters to the screen, as well as allowing the actors enough free reign to breathe life into their characters. He succeeds in setting up key moments of tension such as Richardson's character being asked by Maggie what her father is cooking in the kitchen with her stepmother going downstairs​ to inspect only to discover that nothing​ is being cooked, with her quietly realizing that Maggie is beginning to smell human flesh. Such a sequence is an example of one of the numerous ones in the film where the story is at its most effective. While it can be said that Hobson could've shown us more with the film, he does a good job of making due with the limited resources he had regarding the films extremely low budget and creating a world that serves as being both darkly and emotionally chilling.

      Whereas both the acting and directing of the film work as being the films strongest elements, the screenplay by John Scott 3 serves as being both a hit and miss effort. What the writing does well is taking the popular Zombie genre and subverting expectations with crafting a surprising touching yet ultimately heartbreaking father and daughter drama, that serves as being a farewell story wrapped around the foundation of it being a horror story. Scott does well with showing a father's desperation to keep his daughter comfortable and safe as she slowly transforms while attempting to delay the inevitable. Schwarzenegger's character is constantly told throughout the film about what must be done when she transforms, but can't bring himself to commit to such an act. The writer also brilliantly shows Maggie's characters confusion as she slowly begins to turn into a Zombie with little subtle moments, that drive home the fear such as her character observing the bruise on her arm, or witnessing worms crawling out of it. Other intense moments that drive home the hellish circle that Wade is trapped in is when he ends up killing neighbors turned Zombies, that threaten both him and his daughters safety. The script works well in regards to both fleshing out the mind state of these characters, along with showing the bond that both Wade and Maggie have as parent and child. Wade's character is shown to be so committed to keeping his daughter alive that he turns a blind eye to many of the signals showing that she's getting closer to her inevitable switch while everyone else around them begins to become scared . In that regard, the script for Maggie works exceptionally well. The problems that arise with the script is the lack of events occurring throughout the film as the story strictly remains grounded around both Wade and Maggie's character. Instead of showing a more global scale of the outbreak described in the film, the writer opts for a more personal and sentimental story that tests the audiences patience in regards to it's slow-moving yet poignant narrative. The films ending also feels a bit underwhelming in a sense that the whole story builds up the anticipation that Schwarzenegger's character is tasked with having to figure out how to handle killing Maggie when she transforms into a Zombie with the climax ultimately being a betrayal of what the story was steadily building up to. While the ending doesn't automatically ruin the film, it robs it of the emotional payoff the final scene would've given audiences, as well as Schwarzenegger of an incredible dramatic moment if his character was presented with the choice at the end.

      Despite its faults, Maggie still succeeds as being a surprisingly different type of Zombie story, that's aspires to be more than just a mindless horror flick. The film works as being an genuinely affecting story revolving around the concept of life and death with one family struggling to remain whole throughout the Zombie apocalypse shown. This is a different type of film than anything Schwarzenegger's been attached to previously with the transformation into a more serious approach being an ambitious one for the action star, that pays off. One can only hope that Schwarzenegger and other stars known for a particular type of genre role, become inspired to pursue other projects that'll​ allow them to be casted against type. Not everyone will enjoy Maggie as its slow progressing narrative may be off putting for those looking for a more eventful action style Zombie flick, but those looking for a story with a deeper meaning behind it will find much to appreciate with its artsy style approach to filming its story, as well as its ambition to standout from other horror flicks. It says something that the most dramatic Arnold Schwarzenegger performance of his career is the most overlooked as Maggie deserves to be commended for how hard it tries to add something new to the Zombie genre. The most surprising element of the film is despite its plot being horror oriented, the story is really about the bond between a father and his daughter with the film showing how far one will go to protect their family despite increasingly knowing that the end is near. In the end, the greatest tragedy won't be that Maggie was seen by few audiences in comparison to other films in Schwarzenegger's career, it would be that the iconic action star didn't feel inspired to tackle more projects that tested his range as a serious actor after delivering an impressive performance here. Maggie serves as being one of 2015's overlooked gems. 

Final Verdict: For fans of both the Zombie genre and Schwarzenegger's work in general, Maggie proves to be a pleasant surprise that'll shock, entertain, and reaffirm audiences belief that Schwarzenegger is a more serious actor than what's been revealed of him thus far.