Centurión

Película histórica de caza aventurera. Le felicito a Marshall por llegar a ser un director que dirige a actores como Fassbender, West, Cunningham y Morrissey, quienes junto con el fantástico paisaje natural, ayudan a que la película sea divertida y cautivadora. La película no es sangrienta y brutal por ser sangrienta y brutal, es realista y su violencia encaja en el concepto de un drama rudo en el que los simpáticos personajes principales en la naturaleza son perseguidos por una autostopista vengativa y sanguinaria. Su ira y crueldad están justificadas y por ello su personaje no suscita en el espectador resistencia y odio, sino miedo y respeto. Menos realista es el maquillaje y el cabello secado con secador de la hermosa mujer salvaje que vive sola junto al río, donde coge el desayuno maloliente con sus propias manos, pero aún así agradezco su poca ternura en el mundo gris de la desesperación. Si el enfrentamiento final fuera más fuerte, consideraría 4*. (04.10.2011)

I’m sorry to say that this has been the most boring Marshall. If I were to judge it somehow objectively, I would go no further than seven out of ten points, but with my ugly relationship with historical films (accurate or otherwise), I can’t go over 50%. Centurion is as silly as Doomsday, but to its own misfortune, it takes itself very seriously. The action scenes are unreadable, put together with lots close-ups of chopped, flying or falling human body parts, without any overall view of the battlefield. This year’s winner in the competition of badass historical films is hands down Valhalla Rising. (12.08.2010)

Centurion is definitely not a realistic historical drama from the ancient history of building the Roman Empire, but a historicizing fantasy, which takes from real history only what it deems suitable as a starting point for an adventure story. The whole film stays afloat with raw action, albeit being sometimes straightforward and cheaply bloody. There are definitely more blood spatters than would be possible in reality, and the director utilizes contemporary digital technology, so severed limbs fly in all directions and the viewer can also enjoy disgustingly bloody details. The story itself is not complicated, but in terms of action films, the cast is highly above standard, because everyone involved can act and, speaking about the male part of the ensemble, they also have charisma. The female participation in the war campaign somewhat resembles a caricatured Xena, because a barbarian warrior with half a kilogram of makeup, whose eyes drown under such a dose of eyeshadow that even Queen Cleopatra would surely envy her, does not exactly inspire trust in historical fantasy. Not to mention the fact that the participating girls, despite their diligent battle cries and fierce grimaces, come across more like they just stepped out of a fashion show. Overall impression: 55%. (23.10.2010)

Objectively, this is probably Marshall's weakest film, but in the "bloody historical carnage" category it's still a strong above-average film. It rests mainly on the director's sense of maximum blood (never mind that it splashes digitally) and charismatic actors. For an hour and a half where nothing actually happens, the film is fully immersive and makes you feel that sometimes there is real beauty in simplicity. (17.08.2010)

If only “Bran Mak Morn" were a little like this. Raw, warrior cut and thrust. Marshall has some shortcomings and mainly he should learn how to edit, and the scene changes aren’t always completely kosher, but nevertheless paint a wonderful atmosphere full of war and blood. The cast is remarkable. Excellent, fair Michael Fassbender is balanced by the dumb savage with the devilish face of Olga Kurylenko. And I liked Dominic West, even though he wasn’t given much time to warm up. And not forgetting Eskheri’s music, which was A-grade. (14.08.2010)