London Has Fallen: Mini-review


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Gerard Butler

Two mediocre movies in two weeks for Gerard Butler

C-Gerard Butler‘s once-familiar face had surprisingly been absent from movie screens for three years up until the last two weeks, when first Gods of Egypt and now London Has Fallen show up in rapid succession. Judging by the thoroughly mediocre quality of both films, it may be another three years before audiences want to see Butler again. 

London Has Fallen is a sequel to the unexpectedly successful 2013 action film Olympus Has Fallen, Butler’s most recent live action film. Once again, he plays Secret Service agent Mike Banning, responsible for the safety of U.S. President Benjamin Asher (Aaron Eckhart), who is in London for the funeral of the British Prime Minister. Terrorists suddenly launch a massive attack, blowing up various London landmarks and assassinating several other world leaders. Their ultimate goal is to publicly execute Asher for “war crimes,” unless Banning can keep him safe.

As with many action sequels, London Has Fallen represents a distinct step back in terms of personnel and budget from its predecessor. Director Babak Najafi, whose previous American experience consisted of a couple of episodes of the cable TV series Banshee, steps in for Antoine Fuqua. Najafi acquits himself well in the nearly non-stop action scenes in London Has Fallen. Unfortunately, he can’t completely cover up the cheesy special effects that often rival those found in a Syfy Channel movie. Nor can he make his Eastern European location shots look like authentic London locales, no matter how many CGI-generated landmarks like Big Ben and the Tower of London get destroyed. Najafi is also saddled with a screenplay that is filled with mostly bad one-line retorts delivered by Butler and that, even by modern-day thriller standards, defies belief. The audience is asked to believe that hundreds of heavily armed Arab terrorists have infiltrated the police and army and can launch a dozen perfectly coördinated attacks. Despite its shortcomings, however, London Has Fallen can be fun to watch at times for those who don’t take it too seriously or mind considerable gore. Also, Butler is fun to watch; he doesn’t chew as much scenery here as he did in Gods of Egypt, but his character is just as gonzo, with a penchant for inflicting pain on his enemies that makes Arnold Schwarzenegger look like a pacifist. Plus, no movie with Morgan Freeman appearing (in this case, vice-) presidential can be all bad. London Has Fallen doesn’t quite rise to the level of guilty pleasure, but, unlike the film’s version of London, it’s not a total disaster either.   
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Gods of Egypt: Mini-review


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Gerard Butler

A less than godly Gerard Butler

C-No one has ever considered Cecil B. DeMille a restrained director or The Ten Commandments an example of storytelling moderation. But DeMille, Charlton Heston, Yul Brynner, and the rest of the Commandments cast seem like a Masterpiece Theater production of Jane Austen compared to Alex Proyas‘ completely goofy, CGI-laden Gods of Egypt

In Proyas’ version of Egyptian mythology, the 8–10 foot tall gods of Egypt had magical powers and actually ruled the country. The evil Set (Gerard Butler) kills his brother Osiris (Bryan Brown), blinds his nephew, the rightful heir Horus (Nikolaj Coster-Waldau), and seizes power. Horus teams up with a human thief Bek (Brenton Thwaites), who recovered one of the god’s missing eyes (don’t ask), to try to regain his other eye and his throne.

Gods of Egypt is a completely nonsensical hodgepodge of myths from around the ancient world, including a Hades-like underworld whose entrance is guarded by the Sphinx. The film plays like a 21st century version of the Italian Sons of Hercules films, minus the cheesy dubbing but with copious amounts of even cheesier CGI effects. None of the actors look the least bit Egyptian (Butler doesn’t even try to disguise his Scottish accent) or show the least bit of restraint. The campiest and most enjoyable performances are by Chadwick Boseman as a fey Thoth, god of wisdom (who requires several do-overs to solve the riddle of the Sphinx), and Geoffrey Rush as a wizened Ra, the sun-god father of Set and Osiris. Gods of Egypt is harmed somewhat by the limitations the PG-13 rating imposed on the amount of blood (the gods actually bleed gold when wounded) and female flesh (courtesy of outfits displaying substantial amounts of cleavage) that could be shown. Still, the film is campy, goofy fun for the first hour. But the CGI effects lack real imagination or quality, and the endless procession of mediocre futuristic sets and giant monsters becomes boring. The Ten Commandments is still an enjoyable four-hour bad movie because it had a simple plot, well-defined characters, and a judiciously sparing use of special effects. The two-hour Gods of Egypt, on the other hand, seems the longer movie because it features a silly yet confusing plot, too many characters, and an increasingly ridiculous over reliance on special effects. As a result, while DeMille’s epic will be with us forever on network TV, Gods of Egypt will soon be entombed with all the other mediocre action films of today. 
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