It won the Best Director award at "Cannes" this year and this is made by a great director, but besides the film's stunning cinematography and art direction, this film was just plain boring, You might think that a movie called "The Assassin" would have some some great action sequences right? Nope, they are only seconds long and are not special or entertaining at all and there are barely any in the film to begin with. If you want to cast in your ballad for the most overrated film of 2015, you might want to place your bets on "The Assassin". Of the four women who get to talk in the movie, two get killed for assassin reasons, because they believe deeply in the creed our male hero comes to espouse.VIFF Review: This is really shocking. But after that Assassin’s Creed is mostly mired in the present, as our hero faces daddy issues. Then, 50 minutes in, there’s finally a long scene of rooftop parkour across 1492 Madrid. First comes an impressively staged carriage chase. The key ancestor was an assassin, one on the trail of that apple, and the experiences our hero relives are action-adventure set pieces. After that, he awakens deep inside the Madrid offices of Templar, Inc., where he’s quickly strapped to/suspended from a snaking VR-memory machine that allows him to live (and act out) the experiences of his ancestors from centuries before. In his first scene, his character is given a lethal injection by prison doctors, and Fassbender capably grits his teeth and suffers. In the spirit of the Xbox, he doesn’t emote much, as if his character’s inner life is meant to be filled in by you, the player/viewer. Repping Team Assassin is Michael Fassbender, ripped and blank in the manner of a video-game hero rather than a movie one. Curiously, nobody on her team considers the fact that maybe the world should be alerted to the existence of proof of stories from Genesis.
Cotillard plays a scientist whose motives we’re meant to take as misguided rather than evil - she’s seeking a “cure for violence,” which naturally would lead one to the literal apple munched by the literal Eve in the literal Garden of Eden.
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Team Templar (represented, thanks to game developer Ubisoft’s apparent deep pockets, by Marion Cotillard and Jeremy Irons) wants the apple so that they can clamp down on free will itself. Instead, steel yourself for baffling apple monologues in the grayscale offices of an evil tech company, many bloodless PG-13 throat-slashings and lots of soaring CGI shots of old-world cityscapes so choked with mist that they look like parts of a game level you haven’t yet unlocked. Don’t expect feather-chasing or nimble Douglas Fairbanks derring-do from the movie. In the games, you can ignore this stuff for long stretches, instead bounding about fancy-free, checking out vistas and sprinting across basilicas and castle walls. The prize both groups seek: the Apple of Eden, which is reputed to contain the seed - or, bafflingly, “the DNA” - of humanity’s free will.
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It’s set in the now, is as grim as a break room around layoff time and foregrounds an absurd Da Vinci Code plot about the secret order of Templars battling a guild of assassins over millennia. The Assassin’s Creed movie is about all the parts you might skip in the games. And every time you’re tasked with trailing a mark through a marketplace, you will accidentally climb a trellis for no reason. Often, you’ll sneak behind and murder the wicked. Sometimes you chase floating feathers through Florence.
The Assassin’s Creed video games are about skipping through tedious cut scenes set in the present so that you can vault into the past, through and over gorgeous recreations of the roofs and streets of medieval and Renaissance cities.