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Francis Lawrence’s I Am Legend is the latest adaptation of Richard Matheson’s 1954 novel (which has already been put onto film twice), starring Will Smith as Dr. Robert Neville, who may well be the last man on Earth. Neville is charged with reversing the effects of a botched cancer cure that killed 90% of the world’s population, leaving 1% immune, and turning the other 9% into “dark seekers” – mutated beasts that wish to feed on any living humans they can find.
Following a welcome cameo from the wonderful Emma Thompson (as the doctor who started the whole mess), we press on to three years later, where the entire world is seemingly desolate, ravaged by the effects of the “Krippin virus”. Is such a post-apocalyptic setting conventional, with its overturned cars, and its litter-filled streets? Absolutely, but the buck stops there, as the film’s introduction is anything but rudimentary – I Am Legend is not a film filled with dialogue, and the opening fifteen minutes is curiously, adventurously devoid of speech almost entirely. Given how Smith’s character is alone in New York City, with nothing but his dog for company, it is commendable that screenwriters Mark Protosevich and Akiva Goldsman chose not to have Smith regurgitate an inner monologue, which would only serve to insult seasoned cinemagoers. Instead, Neville simply has occasional, ever-believable banter with his dog, which serves not to progress the plot, but to telegraph Neville as the sympathetic character that he is.
The seeming emptiness of the opening scenes reflects the drudgery and loneliness of Neville’s own existence – each night he is forced to lock himself away in his home, sleeping in the bathtub with his rifle at his side. All Neville has left is his dog, and at one point early on, he enters into a dark, potentially dangerous building in order to search for her after she runs away. In similar fare (such as Zack Snyder’s Dawn of the Dead remake), risking one’s life to such lengths to rescue a pet seems ridiculous and non-sensical, yet in this paradigm, whereby Neville’s mental state cannot be ascertained, and he has no other living contacts, diving into the abyss for a hound doesn’t seem so insane.
In a brief series of flashbacks, we learn of Neville’s loneliness and personal torture to an even greater extent. Neville has endured unspeakable family atrocities, and such interludes aid in envisioning him as a truly, uncomprisingly sympathetic character. Neville is a tortured soul of the greatest variety, and combined with Smith’s moving performance, we are presented with an affecting, highly driven character that the audience can support for reasons other than the usual star power and recognisable face.
Robert Neville is, in many aspects, an unconventional action hero. Neville is a uniformly Hollywood-esque scientist, in that he is muscular, yet when faced with volatile situations, he breathes heavily, and he shakes – he is scared, and more often than not, he will flee in the face of danger rather than stand his ground in rather gung-ho fashion and unleash his rather hefty rifle. Only when faced with even more personal tragedy does Neville turn into rent-a-kill, and even then, it is understandable considering the gravity and emotional impact of his loss, and moreover, his true motives (such as his care for his own wellbeing) are unclear.
To this effect, there are a surprising amount of genuinely affecting, heartfelt moments in I Am Legend. Following a savage, brutal attack, in which Neville is faced with a heartbreaking choice (with an unexpectedly disturbing payoff), Neville is left empty and shell-like – he sustains emotional bankruptcy beyond measures he believed possible, and it appears to be this tragedy which drives the climax, rather than the other, ham-fisted way around, to the film’s further credit. The sadness of the situation is furthered by Smith’s entirely convincing turn, particularly in a rental store scene, where he, in his jaded loneliness, begs the various mannequins scattered around the store - “Please say hello to me!”. In the hands of a lesser actor, such a scene would have fallen flat and appeared preposterous and histrionic, yet Smith, the ever-underrated actor that he is, digs down deep and packs his performance with the appropriate emotional wallop that it dictates. Smith claims that preparing for I Am Legend was his most challenging turn since Ali, and given the surprising emotional depth of his character, one need not wonder why.
The film’s third act is a tonal departure from the preceding hour – Neville’s environment is altered drastically, and in doing so, brings with it a wealth of clichés, metamorphosing a minimalist, restrained survival film into an overblown, rudimentary horror endeavour. The scenes in which Neville makes his most important discoveries are also the most conventional, dabbling in a dash of deus ex machina, and transforming plot-driven action into action-driven plot. The final moments, whilst wonderfully lit and a tad inspiring, are typical of such films, and whilst Neville’s actions in the film’s final moments are unassailably heroic, it failed to convince logically. I Am Legend’s final act of violence works more as a reason to cause a lot of explosions rather than to paint a universal picture of heroism, yet when one considers Neville as a character, and what he has been through, it is a considerably more acceptable, yet nevertheless frustrating creative decision.
I Am Legend is a rarity – it is a mainstream Hollywood action thriller that packs an authentic emotional punch, and allows Smith, holding the picture solely on his broad shoulders, to demonstrate his acting credentials with flare and zest. The film suffers from some incredibly hokey visual effects, and the film’s third act seems to undermine the inventive preceding hour, yet as far as high-concept action fare goes, I Am Legend is a cut above the average.
Thanks for reading,
Reefer
Following a welcome cameo from the wonderful Emma Thompson (as the doctor who started the whole mess), we press on to three years later, where the entire world is seemingly desolate, ravaged by the effects of the “Krippin virus”. Is such a post-apocalyptic setting conventional, with its overturned cars, and its litter-filled streets? Absolutely, but the buck stops there, as the film’s introduction is anything but rudimentary – I Am Legend is not a film filled with dialogue, and the opening fifteen minutes is curiously, adventurously devoid of speech almost entirely. Given how Smith’s character is alone in New York City, with nothing but his dog for company, it is commendable that screenwriters Mark Protosevich and Akiva Goldsman chose not to have Smith regurgitate an inner monologue, which would only serve to insult seasoned cinemagoers. Instead, Neville simply has occasional, ever-believable banter with his dog, which serves not to progress the plot, but to telegraph Neville as the sympathetic character that he is.
The seeming emptiness of the opening scenes reflects the drudgery and loneliness of Neville’s own existence – each night he is forced to lock himself away in his home, sleeping in the bathtub with his rifle at his side. All Neville has left is his dog, and at one point early on, he enters into a dark, potentially dangerous building in order to search for her after she runs away. In similar fare (such as Zack Snyder’s Dawn of the Dead remake), risking one’s life to such lengths to rescue a pet seems ridiculous and non-sensical, yet in this paradigm, whereby Neville’s mental state cannot be ascertained, and he has no other living contacts, diving into the abyss for a hound doesn’t seem so insane.
In a brief series of flashbacks, we learn of Neville’s loneliness and personal torture to an even greater extent. Neville has endured unspeakable family atrocities, and such interludes aid in envisioning him as a truly, uncomprisingly sympathetic character. Neville is a tortured soul of the greatest variety, and combined with Smith’s moving performance, we are presented with an affecting, highly driven character that the audience can support for reasons other than the usual star power and recognisable face.
Robert Neville is, in many aspects, an unconventional action hero. Neville is a uniformly Hollywood-esque scientist, in that he is muscular, yet when faced with volatile situations, he breathes heavily, and he shakes – he is scared, and more often than not, he will flee in the face of danger rather than stand his ground in rather gung-ho fashion and unleash his rather hefty rifle. Only when faced with even more personal tragedy does Neville turn into rent-a-kill, and even then, it is understandable considering the gravity and emotional impact of his loss, and moreover, his true motives (such as his care for his own wellbeing) are unclear.
To this effect, there are a surprising amount of genuinely affecting, heartfelt moments in I Am Legend. Following a savage, brutal attack, in which Neville is faced with a heartbreaking choice (with an unexpectedly disturbing payoff), Neville is left empty and shell-like – he sustains emotional bankruptcy beyond measures he believed possible, and it appears to be this tragedy which drives the climax, rather than the other, ham-fisted way around, to the film’s further credit. The sadness of the situation is furthered by Smith’s entirely convincing turn, particularly in a rental store scene, where he, in his jaded loneliness, begs the various mannequins scattered around the store - “Please say hello to me!”. In the hands of a lesser actor, such a scene would have fallen flat and appeared preposterous and histrionic, yet Smith, the ever-underrated actor that he is, digs down deep and packs his performance with the appropriate emotional wallop that it dictates. Smith claims that preparing for I Am Legend was his most challenging turn since Ali, and given the surprising emotional depth of his character, one need not wonder why.
The film’s third act is a tonal departure from the preceding hour – Neville’s environment is altered drastically, and in doing so, brings with it a wealth of clichés, metamorphosing a minimalist, restrained survival film into an overblown, rudimentary horror endeavour. The scenes in which Neville makes his most important discoveries are also the most conventional, dabbling in a dash of deus ex machina, and transforming plot-driven action into action-driven plot. The final moments, whilst wonderfully lit and a tad inspiring, are typical of such films, and whilst Neville’s actions in the film’s final moments are unassailably heroic, it failed to convince logically. I Am Legend’s final act of violence works more as a reason to cause a lot of explosions rather than to paint a universal picture of heroism, yet when one considers Neville as a character, and what he has been through, it is a considerably more acceptable, yet nevertheless frustrating creative decision.
I Am Legend is a rarity – it is a mainstream Hollywood action thriller that packs an authentic emotional punch, and allows Smith, holding the picture solely on his broad shoulders, to demonstrate his acting credentials with flare and zest. The film suffers from some incredibly hokey visual effects, and the film’s third act seems to undermine the inventive preceding hour, yet as far as high-concept action fare goes, I Am Legend is a cut above the average.
Thanks for reading,
Reefer
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Francis Lawrence’s I Am Legend is the latest adaptation of Richard Matheson’s 1954 novel (which has already been put onto film twice), starring Will Smith as Dr. Robert Neville, who may well be the last man on Earth. Neville is charged with reversing the effects of a botched cancer cure that killed 90% of the world’s population, leaving 1% immune, and turning the other 9% into “dark seekers” – mutated beasts that wish to feed on any living humans they can find.
Following a welcome cameo from the wonderful Emma Thompson (as the doctor who started the whole mess), we press on to three years later, where the entire world is seemingly desolate, ravaged by the effects of the “Krippin virus”. Is such a post-apocalyptic setting conventional, with its overturned cars, and its litter-filled streets? Absolutely, but the buck stops there, as the film’s introduction is anything but rudimentary – I Am Legend is not a film filled with dialogue, and the opening fifteen minutes is curiously, adventurously devoid of speech almost entirely. Given how Smith’s character is alone in New York City, with nothing but his dog for company, it is commendable that screenwriters Mark Protosevich and Akiva Goldsman chose not to have Smith regurgitate an inner monologue, which would only serve to insult seasoned cinemagoers. Instead, Neville simply has occasional, ever-believable banter with his dog, which serves not to progress the plot, but to telegraph Neville as the sympathetic character that he is.
The seeming emptiness of the opening scenes reflects the drudgery and loneliness of Neville’s own existence – each night he is forced to lock himself away in his home, sleeping in the bathtub with his rifle at his side. All Neville has left is his dog, and at one point early on, he enters into a dark, potentially dangerous building in order to search for her after she runs away. In similar fare (such as Zack Snyder’s Dawn of the Dead remake), risking one’s life to such lengths to rescue a pet seems ridiculous and non-sensical, yet in this paradigm, whereby Neville’s mental state cannot be ascertained, and he has no other living contacts, diving into the abyss for a hound doesn’t seem so insane.
In a brief series of flashbacks, we learn of Neville’s loneliness and personal torture to an even greater extent. Neville has endured unspeakable family atrocities, and such interludes aid in envisioning him as a truly, uncomprisingly sympathetic character. Neville is a tortured soul of the greatest variety, and combined with Smith’s moving performance, we are presented with an affecting, highly driven character that the audience can support for reasons other than the usual star power and recognisable face.
Robert Neville is, in many aspects, an unconventional action hero. Neville is a uniformly Hollywood-esque scientist, in that he is muscular, yet when faced with volatile situations, he breathes heavily, and he shakes – he is scared, and more often than not, he will flee in the face of danger rather than stand his ground in rather gung-ho fashion and unleash his rather hefty rifle. Only when faced with even more personal tragedy does Neville turn into rent-a-kill, and even then, it is understandable considering the gravity and emotional impact of his loss, and moreover, his true motives (such as his care for his own wellbeing) are unclear.
To this effect, there are a surprising amount of genuinely affecting, heartfelt moments in I Am Legend. Following a savage, brutal attack, in which Neville is faced with a heartbreaking choice (with an unexpectedly disturbing payoff), Neville is left empty and shell-like – he sustains emotional bankruptcy beyond measures he believed possible, and it appears to be this tragedy which drives the climax, rather than the other, ham-fisted way around, to the film’s further credit. The sadness of the situation is furthered by Smith’s entirely convincing turn, particularly in a rental store scene, where he, in his jaded loneliness, begs the various mannequins scattered around the store - “Please say hello to me!”. In the hands of a lesser actor, such a scene would have fallen flat and appeared preposterous and histrionic, yet Smith, the ever-underrated actor that he is, digs down deep and packs his performance with the appropriate emotional wallop that it dictates. Smith claims that preparing for I Am Legend was his most challenging turn since Ali, and given the surprising emotional depth of his character, one need not wonder why.
The film’s third act is a tonal departure from the preceding hour – Neville’s environment is altered drastically, and in doing so, brings with it a wealth of clichés, metamorphosing a minimalist, restrained survival film into an overblown, rudimentary horror endeavour. The scenes in which Neville makes his most important discoveries are also the most conventional, dabbling in a dash of deus ex machina, and transforming plot-driven action into action-driven plot. The final moments, whilst wonderfully lit and a tad inspiring, are typical of such films, and whilst Neville’s actions in the film’s final moments are unassailably heroic, it failed to convince logically. I Am Legend’s final act of violence works more as a reason to cause a lot of explosions rather than to paint a universal picture of heroism, yet when one considers Neville as a character, and what he has been through, it is a considerably more acceptable, yet nevertheless frustrating creative decision.
I Am Legend is a rarity – it is a mainstream Hollywood action thriller that packs an authentic emotional punch, and allows Smith, holding the picture solely on his broad shoulders, to demonstrate his acting credentials with flare and zest. The film suffers from some incredibly hokey visual effects, and the film’s third act seems to undermine the inventive preceding hour, yet as far as high-concept action fare goes, I Am Legend is a cut above the average.
Thanks for reading,
Reefer
Following a welcome cameo from the wonderful Emma Thompson (as the doctor who started the whole mess), we press on to three years later, where the entire world is seemingly desolate, ravaged by the effects of the “Krippin virus”. Is such a post-apocalyptic setting conventional, with its overturned cars, and its litter-filled streets? Absolutely, but the buck stops there, as the film’s introduction is anything but rudimentary – I Am Legend is not a film filled with dialogue, and the opening fifteen minutes is curiously, adventurously devoid of speech almost entirely. Given how Smith’s character is alone in New York City, with nothing but his dog for company, it is commendable that screenwriters Mark Protosevich and Akiva Goldsman chose not to have Smith regurgitate an inner monologue, which would only serve to insult seasoned cinemagoers. Instead, Neville simply has occasional, ever-believable banter with his dog, which serves not to progress the plot, but to telegraph Neville as the sympathetic character that he is.
The seeming emptiness of the opening scenes reflects the drudgery and loneliness of Neville’s own existence – each night he is forced to lock himself away in his home, sleeping in the bathtub with his rifle at his side. All Neville has left is his dog, and at one point early on, he enters into a dark, potentially dangerous building in order to search for her after she runs away. In similar fare (such as Zack Snyder’s Dawn of the Dead remake), risking one’s life to such lengths to rescue a pet seems ridiculous and non-sensical, yet in this paradigm, whereby Neville’s mental state cannot be ascertained, and he has no other living contacts, diving into the abyss for a hound doesn’t seem so insane.
In a brief series of flashbacks, we learn of Neville’s loneliness and personal torture to an even greater extent. Neville has endured unspeakable family atrocities, and such interludes aid in envisioning him as a truly, uncomprisingly sympathetic character. Neville is a tortured soul of the greatest variety, and combined with Smith’s moving performance, we are presented with an affecting, highly driven character that the audience can support for reasons other than the usual star power and recognisable face.
Robert Neville is, in many aspects, an unconventional action hero. Neville is a uniformly Hollywood-esque scientist, in that he is muscular, yet when faced with volatile situations, he breathes heavily, and he shakes – he is scared, and more often than not, he will flee in the face of danger rather than stand his ground in rather gung-ho fashion and unleash his rather hefty rifle. Only when faced with even more personal tragedy does Neville turn into rent-a-kill, and even then, it is understandable considering the gravity and emotional impact of his loss, and moreover, his true motives (such as his care for his own wellbeing) are unclear.
To this effect, there are a surprising amount of genuinely affecting, heartfelt moments in I Am Legend. Following a savage, brutal attack, in which Neville is faced with a heartbreaking choice (with an unexpectedly disturbing payoff), Neville is left empty and shell-like – he sustains emotional bankruptcy beyond measures he believed possible, and it appears to be this tragedy which drives the climax, rather than the other, ham-fisted way around, to the film’s further credit. The sadness of the situation is furthered by Smith’s entirely convincing turn, particularly in a rental store scene, where he, in his jaded loneliness, begs the various mannequins scattered around the store - “Please say hello to me!”. In the hands of a lesser actor, such a scene would have fallen flat and appeared preposterous and histrionic, yet Smith, the ever-underrated actor that he is, digs down deep and packs his performance with the appropriate emotional wallop that it dictates. Smith claims that preparing for I Am Legend was his most challenging turn since Ali, and given the surprising emotional depth of his character, one need not wonder why.
The film’s third act is a tonal departure from the preceding hour – Neville’s environment is altered drastically, and in doing so, brings with it a wealth of clichés, metamorphosing a minimalist, restrained survival film into an overblown, rudimentary horror endeavour. The scenes in which Neville makes his most important discoveries are also the most conventional, dabbling in a dash of deus ex machina, and transforming plot-driven action into action-driven plot. The final moments, whilst wonderfully lit and a tad inspiring, are typical of such films, and whilst Neville’s actions in the film’s final moments are unassailably heroic, it failed to convince logically. I Am Legend’s final act of violence works more as a reason to cause a lot of explosions rather than to paint a universal picture of heroism, yet when one considers Neville as a character, and what he has been through, it is a considerably more acceptable, yet nevertheless frustrating creative decision.
I Am Legend is a rarity – it is a mainstream Hollywood action thriller that packs an authentic emotional punch, and allows Smith, holding the picture solely on his broad shoulders, to demonstrate his acting credentials with flare and zest. The film suffers from some incredibly hokey visual effects, and the film’s third act seems to undermine the inventive preceding hour, yet as far as high-concept action fare goes, I Am Legend is a cut above the average.
Thanks for reading,
Reefer