Here Grendel and his mother are merely creepy, deformed trolls cum oafish sea people with seaweed style without fantastical elements to their monstrosity. The story from Andrew Rai Berzins (North of 60) is close enough to the original poem – minus bookends about Grendel’s father and child, Irish missionaries versus pagan beliefs, and no dragons. The eponymous Butler comes to the aid of Stellan Skarsgard ( Mamma Mia! ) as Danish King Hrothgar when his Heorot Mead Hall is plagued by repeated attacks from the monster Grendel (Ingvar Eggert Sigurdsson, Angels of the Universe ). Thanks to so many other takes on the Old English ode Beowulf, we know the story of this 2005 adaptation from producer and director Sturla Gunnarsson (Monsoon). Fans of the cast can see the appeal here, however, high concept audiences may not be able to get past the herky-jerky flavoring.
Although the intelligent science fiction allegory has merits, the devoid nature of technological control is lost in the askew, gaudy montages. Fortunately, we can root for on form action Butler despite the preposterous game play and lack of character focus. Ambiguous Kable in game killings versus Tillman doing what he has to do consequences attempt nuance, but the brief emotional dilemmas are clunky. Smug, apathetic kids hiding behind online avatars are too realistic to be entertaining – there’s no time to pause on Tillman’s pain and slow motion flashbacks fall prey to off kilter filming with implications a la Blade Runner left unexplored. This is supposed to be humorous, how? Reporter Kyra Sedgwick ( The Closer ) has little to do, and wife Amber Valetta ( Revenge ) bears the brunt of the video game depravity thanks to a gluttonous handler amid yet more sex, nudity, and neon. Hall’s confusing parody performance mixes singalong sardonics with controlling people to maim, rape, and kill. This in your face style may be an intentional parallel, however the audience never has room to breathe or contemplate the underlying commentary on consumerism, oral fixations, over sharing, and interconnected indulgences. Even dramatic scenes have unnecessary zooms, distracting movements, flashing lights, and hectic photography. Writers/directors/producers/rollerblading cameramen Mark Neveldine and Brian Taylor ( Crank ) create a cluttered SIMS meets The Running Man message, advocating against media manipulation and our obsession with instant mass technology whilst playing into such constant cool with five second camera shots, hectic visuals, harsh graphics, loud music, and dizzying editing. Hall (Dexter) in which nanites enable real world gamers to control the battlefield mayhem. Gerard Butler’s convicted murderer John Tillman competes for his freedom as Kable in Slayers, a televised fight to the death created by Michael C. However, despite some cliché action, hammy fantasy, and a detour into the dearth of romantic comedies, Butler has a few eclectic gems in his repertoire for us to peruse. So we all know what’s going to be the de facto Gerard Butler film.
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