(2009)
Dir: The Hughes Brothers
The opening minutes are mesmerizing; genuine visual excellence from the twin duo who have brought us such films as Dead Presidents and From Hell over the course of the past two decades. Denzel Washington’s stoic nomad sits amidst a grey, ashen forest, waiting for his feline prey. Atticus Ross’ chillingly atmospheric soundtrack compliments the gloomy yet stunning cinematography of Don Burgess so that the Hughes Brothers nine year wait was well on its way to being worth every second. Unfortunately, it’s all downhill from here.
Burgess’ initially gorgeous post-apocalyptic visuals descend into the usual, Mad Max meets Sergio Leone arid desert, as Washington’s Eli trudges along, a mysterious Holy warrior on a righteous path. He encounters Gary Oldman’s local Sheriff (what else can you call him?), who is possessed with the notion of getting his hands on Eli’s Bible. Oldman nibbles at the scenery ever so delicately, but never threatens to be anything other than entertaining.
Out with the new. In with the Old…man.
Mila Kunis’ tagalong, as the young girl who escapes with Eli from Oldman’s clutches, is a particular weak point in an already flimsy tale. Pouting away from behind her WAG sunglasses, Kunis looks about as convincing in this landscape as Eamonn Holmes in a gym. But Washington is the focal point, and an uninspiring one at that.
In fact, The Book of Eli is the first film from the Hughes Brothers since 2001’s Jack the Ripper misfire of Alan Moore’s brilliant graphic novel From Hell. It isn’t a patch on another recent post-apocalyptic film, John Hillcoat’s brilliant The Road from 2006, but then few films are. The Book of Eli is much more interested in action than Hillcoat’s depressing picture, but it never quite delivers. The overt religious undertones are irrelevant, not playing a part in the overall enjoyment factor.
An ultimately disappointing and unoriginal effort from two talented directors who made us wait a long time for something we’ve already seen.
** ¾ / *****
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