‘The hit man of God’: Priest Judge
The two heads visible than it ended up that nonsense called ‘Legion’, actor Paul Bettany and director Scott Stewart, join forces again in front of ‘The hit man of God’, new production of fantasy action and religious elements false marking of terror with which they return to play in bone, again offering a rather poor production results and questionable logic, yes, and unlike its predecessor, at least for much of his footage maintains a constant average acceptable (within a minimum) punctuated by occasional odd point, and that combined with its tight 85 minutes of footage make it a disappointing experience but passable if you’re optimistic, you’re going to the track and in the next room have hung the sign Full Capacity.
Like any good adaptation of a predominantly visual material, a graphic novel in this case, this is a production where appearance and looks like more care and is a remarkable film by others and beyond the obvious critique of the concept of Church as a human institution, seems more content based intrinsic and premeditated action, looks like his speech and any dramatic issue is constrained by its commitment to openly serve merciless scenes of action (special effects) as the sole cause of his offering to the viewer, leading to a clear and hollow hobby whose very emptiness is evidenced by the seriousness with which faces its limitations and lacks that sense of humor necessary for the viewer to plug cracks in a given ordered for an excess of faith.
For some time this part is noted with the productions of difference calls to exercise their duties with utmost professionalism to distract the audience with no other ambition than to encourage off for a few minutes so trivial and boring topics as to which we usually face in everyday of our lives. In general, one would say that in times of an idea from a story was produced, from a story that would become a script with commas and periods, this resulted from a movie script after being molded under a filmmaker by different departments, and the film finally reached theaters to enjoy (or not) of the hearing. Now there are few times when it seems that the process has been simplified so that an idea is transformed into a movie directly without passing through the hands of a screenwriter to give way (or not given time to do), just as one suspects that the responsibility of a film begins to fall too much in the special effects department and others. And is that just as there refrozen manufactured homes or food, it seems that there are patterns of script to download from internet after a simple Google search.
‘The hit man of God’ is one of many productions that seem designed with square and bevel as a filmmaker rather than a commercial would be built as they say starting the house from the roof and where the script is forced to nothing more than a cloak that wraps its action scenes, and not vice versa. Not that this is a cluster of busy public areas so sick vulgar, not that it is a succession of scenes and predictable events resolved in a rather mechanical and not very exciting, not that it is a sum of elements and details that together make up a dramatic map whose stupidity is removed by itself, not that fall into depending on which guidelines imposed by a legion of filmmakers educated through play or MTV … also.
Yet simplicity is more pragmatic bit naive resolved by the hand of a filmmaker, Scott Stewart, who is serious about what his camera captures the screen without realizing that this reinterpretation does not confess to ‘Judge Dredd’, character and the film adaptation is difficult not to resort (on the similarities of both in appearance and performance), it can not be taken seriously without ridicule, not least if there is a script to throw something back for that a dramatic backdrop of embarrassment would fade Dominic Toretto and family, a simple excuse for a tiqui-taca filmed without brightness correction that does not stand for anything in particular in which, among other things, the villain of the function is reserved for so long and dramatic depth as the knives of a “Priest” that Bettany, on the other hand, plays like a character they were Shakespearean … and regardless of the nonsense that surrounds him in the form of a story that any question, however innocent, can make clear.
There is no doubt that the proposal for this ‘hit man’ is as hollow and empty as a firework that you could ask for many things, especially common sense. Because the bottom line for business success is know what you can aspire to succeed, and be as ambitious as you allow your realistic options. With some sense of humor, personality behind the camera and willingness to have worked for a class B series more or less convincing and effective, this priest could have shared a sacred wafer so nice that even atheists would have raised his conversion … the problem is that the sense of humor is as nonexistent as the personality and the will nor the talent seem to reach to make this ‘hit man of God’
something other than a mechanical production, cold and distant to both mounted riding so much, so simple and goofy that these two qualities together are enough to generate more fear than the sum of the scares of ‘Scream 4′, and hopelessly doomed to hell humans from the time their players are allowed to mind the name of God vain.
