Formulaic, with no emphasis on characterization, emotion, or anything but gore-soaked mayhem. Yet, it's well paced and when the action hits, it ignites machismo and adrenaline. Centurion isn't as glorious a mash-up as Doomsday, or clever like Dog Soldiers and The Descent, but delivers no bullshit fights. Despite having no unique bones in its body, even in its setpieces, it's another B-film crowd pleaser by Marshall.
Tired and formulaic reduction of an intriguing premise to Boy's Own adventure, where good actors are wasted by spouting worthy truisms. Oddly, Kurylenko's performance -hardly a stretch for her acting, all scowls and eyeliner- is the only one that makes the film unique, as she singularly sums up the solemnity and brutality of our view of that part of history.
Not exactly anything new, but there's a beautiful simplicity and earnestness to these polished B movies of Neil Marshall's -- and an affection for his archetypal characters (particularly the women) that allows them to be more than they are on paper. Axelle Carolyn is a certain standout.
Aimless story-telling and completely predictable at every turn. Mr. Marshall didn't seem to excited about it at the Q&A after it's Canadian debut, either. How he went from making genre classics like Dog Soldiers and The Descent to this Gladiator rip-off, I will never understand....
Another tale of the fabled lost 9th Legion. Fassbender and West bring the Roman machismo. I am getting sick of the warrior woman who can kick any man's ass cliche, though. Its just as bad as the old damsel in distress cliche.
Neil Marshall is perhaps the best British B-movie director around and this is a perfect example. Built around a stellar cast, Centurion does exactly what you would expect and want from a violent historical action movie with a pop sensibility.
Not a single shot, thought, tone, technique, filter, or scene of this would exist without Gladiator. A good DP and decent editor do not make up for terrible writing, mediocre directing and complete and utter lack of any semblance of originality, interest, passion or story. The score is an utterly laughable juvenile mockery of Zimmer's work a decade prior. For quality in this genre look to Scott, Refn, or Herzog.
Comedy of errors, played dead serious, about a humourless career soldier type (Fassbender) who makes a promise to a dying man who did him a good turn, and then proceeds to screw it up. Fassbender's a good actor, but he doesn't get to show off his performing skills in this one so much as he shows off his running skills. (He is good at running, mind you).