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Van Helsing | ||||
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R E V I E W B Y R I C H C L I N E |
dir-scr Stephen Sommers with Hugh Jackman, Kate Beckinsale, David Wenham, Richard Roxburgh, Shuler Hensley, Elena Anaya, Will Kemp, Kevin J O'Connor, Silvia Colloca, Josie Maran, Alun Armstrong, Samuel West release US/UK 7.May.04 Universal 04/US 2h12 ![]() Into the bat's lair: Wenham, Jackman and Beckinsale ![]() ![]() ![]()
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Gabriel Van Helsing (Jackman) is a 19th century monster hunter working for an underground Vatican agency. His latest assignment with gadgety sidekick Carl (Wenham) is a bit more momentous: Count Dracula (Roxburgh), whose destiny is at a key juncture involving Frankenstein's monster (Hensley), a werewolf and the last living member (Beckinsale) of his nemesis' family. Of course, Ana is a Transylvanian babe who catches Van Helsing's eye. And Van Helsing has a history with Dracula that he can't remember at all. After two and a half Mummy films, we know Sommers is a huge fan of Universal's classic monster movies (besides his two Mummy flicks). The black and white opening segment is shot lovingly and ingeniously links the monsters together. This referential revisionism is great fun, and the characters are cleverly written, with back stories and inner lives that help us connect with them ... although Jackman is the only one who plays it like a human being, and he's excellent as usual. Beckinsale has a stiffly corseted approach to both action mayhem and bosom-heaving; Roxburgh is encouraged to chomp on the scenery and spit it out like a drag queen on acid; Wenham isn't much more than comic relief--he even wears a jester costume for the climactic Halloween ball. But then everything is too much-- sets are too cavernous, castles are to vertiginous, creatures are too big, action is too ludicrous. There's also far too much belaboured plot exposition, much of it barked or screamed in incomprehensible accents. The rock-star coiffed characters are constantly strapping on weapons that won't help them in their fights. And Sommers uses so much CGI that action sequences are like cartoons--only exciting because of the narrative. But at least the story is a good one! And Sommers packs in enough offhanded humour, plot twists and surprise jolts to keep us on the edge of our seats. Preposterous and over-serious ... and terrific good fun.
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Phil, Amersham: | ||||
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