Review: 'Assassin's Creed' is an exciting, if strange, ride
In 2015, director Justin Kurzel and actors Michael Fassbender and Marion Cotillard teamed up for a prestigious cinematic adaptation, a bloody, mad take on “Macbeth.” In 2016, the trio moved from Shakespeare to ... a video game? Taking on the popular “Assassin's Creed” game seems like quite the left turn, and while the results aren't as striking as the previous outing, the film is thoroughly stamped with Kurzel's unique visual style, which makes for an exciting, if strange ride.
There is a complicated and deep mythology behind the game, and the film follows it mostly faithfully. Callum Lynch (Fassbender) is a death row inmate with a violent childhood. He is put to death by lethal injection, but wakes up in a clinic at the shadowy Abstergo corporation. The lead scientist there, Dr. Sofia Rikkin (Cotillard) claims she's researching “the cure to violence.”
Cal is harnessed up to a giant mechanical arm called the animus and forced to regress to 15th century Spain, where he fights the Spanish Inquisition as his hooded assassin ancestor, Aguilar.
And Abstergo? They're just a front for the Knights Templar, the eternal mortal enemies of the assassins. Both groups want to get their hands on “the Apple of Eden,” which has the genetic code for free will (whatever that is). The Knights Templar want to bow people into peace through mental obedience, while the assassins are all about free will, violence and all.
“Assassin's Creed” will be polarizing, but as an entry in Kurzel's oeuvre, it's fascinating for the ways that it doesn't fit and the ways that it does. It is so singularly his film — both in the style and the fascination with hubris, power and violence. It's his mark on the studio blockbuster that make the brilliant parts of “Assassin's Creed” worthwhile.
Katie Walsh is a Tribune News Service movie critic.