2016 Directed by Justin Kurzel
Through unlocked genetic memories that allow him to relive the adventures of his ancestor in 15th century Spain, Callum Lynch discovers he's a descendant of the secret 'Assassins' society. After gaining incredible knowledge and skills, he is now poised to take on the oppressive Knights Templar in the present day.
Michael Fassbender Marion Cotillard Jeremy Irons Brendan Gleeson Charlotte Rampling Michael Kenneth Williams Ariane Labed James Sobol Kelly Denis Ménochet Callum Turner Khalid Abdalla Essie Davis Carlos Bardem Javier Gutiérrez Hovik Keuchkerian Crystal Clarke Brian Gleeson Rufus Wright Matias Varela Coco König Michelle H. Lin Julio Jordán Angus Brown Kemaal Deen-Ellis Aaron Monaghan Thomas Camilleri Marysia S. Peres Gabriel Andreu Jeff Mash Show All…
Arnon Milchan Philip Lee Frank Marshall Michael Fassbender Patrick Crowley Markus Barmettler Serge Hascoet Conor McCaughan Alison Banks Jean-Julien Baronnet Christine Burgess-Quémard Jean de Rivieres Gerard Guillemot
Matt Wynne Marc Homes Marco Anton Restivo Tom Weaving David Doran Felicity Hickson Ketan Waikar Shira Hockman Oliver Carroll Sven Bonnici Elizabeth Loach Matt Tkocz
Lars Andersen Sara Bennett Dominic Parker Tracey Leadbetter Justin Cornish Brooke Lyndon-Stanford Jean-François Ferland Marc Hutchings Stafford Lawrence Steve Cady Joao Sita Clwyd Edwards Joseph Kasparian Christian Irles Michael Grobe Loeng Wong-Savun Yanick Wilisky Sarah Tulloch Tyler Weiss David Yrisarri Kamila Ostra Leila Nicotera Annie Cliche Javier Meroño Brett Schroeder Ged Wright Owen E. Williams Nigel Rafter Alper Aksit Roland Yepez Graham Page
Frank Kruse Christian Conrad Steve Single Markus Stemler Sacha Walker Alistair Hawkins Gilbert Lake Benjamin Krbetschek Matt Lange
New Regency Pictures Regency Enterprises The Kennedy/Marshall Company Ubisoft CatchPlay Latina Pictures Monarchy Enterprises S.a.r.l. Ubisoft Film & Television DMC Film Alpha Pictures RatPac Entertainment
Assassin's Creed: The Movie, Assassin's Creed: The IMAX Experience
Epic heroes High speed and special ops martial arts, kung fu, choreography, cool or action-packed swords, adventure, fantasy, battle or fighting future, sci-fi, technology, action or technological action, explosives, action-packed, exciting or villain action, villain, superhero, hero or action-packed Show All…
YOU WERE THE CHOSEN ONE! You were supposed to destroy the bad video movies, not join them! Bring balance to cinema, not leave it in darkness!
History, which is foundational to the captivatingly bonkers story of Justin Kurzel’s “Assassin’s Creed,” tells us that this should be a very bad movie. For one thing, this dense, dour, and oft-delayed holiday spectacle is based on a popular series of video games — a grim omen in a year that brought us the likes of “Warcraft” and “Ratchet & Clank.” For another, Kurzel’s moody adaptation is told on a massive scale, budgeted to compete with other franchise monstrosities like “Rogue One” and “Fantastic Beasts and Where to Find Them” — the familiar trouble with making a film like this is that it’s too expensive to afford any risks.
But “Assassin’s Creed,” in which Michael Fassbender’s blank protagonist quite literally repeats…
fuck...is this movie good?
fuck!!!!
gotta give it up for the creed though. what a creed. top 10 creeds.
and you GOTTA give it up for the apple. need that apple to win a Nobel Peace Prize!
P.S. Marion Cotillard 100% believes this movie is non-fiction and that the Knights Templar are after her even as we speak
distinguishably lacked the only thing i remember from playing assassins creed: hiding in haystacks
48/100
Justin Kurzel sucks the lifeblood out of anything he touches, and Assassin's Creed is no exception, but the self-serious ambition exudes an entrancing sense of style in spite of the goofy premise being drained of its inherent silliness. The flashback sequences are silent, acrobatic showcases - a dizzying soundtrack fulfills the extended chases and high-jumping movements - while the present-day material drowns in convoluted concepts, and the resulting mix is one of continuous fascination and intermittent thrills. See it for the Fassbender.
"We work in the dark to serve the light.
We are assassins."
Bold, cold and a mess to behold; Assassin's Creed is a fascinatingly weird movie, but one that succeeds pretty wonderfully. Video games have rarely made a seamless transition from console to cinema; they've earned themselves quite the sour reputation. What Assassin's Creed does so well is it allows the game's strengths to take center stage in the film. Impossibly high dives, historically fetishized locations, sweet kills and absurd acrobatics are why the franchise has succeeded, and naturally it's also why the film succeeds. Kurzel doesn't attempt to weave some narrative over those things, but rather he builds a story entirely composed by them. The film bravely flips from…
watching this i remembered how they promoted the "leap of faith" scene as "the highest stunt jump in movie history" and in the movie it looks like a fake guy jumping into digital soup.
For a film completely devoid of a soul it manages to scrape through because of its unwavering faith in its own convoluted and ridiculous premise.
The games are extremely cinematic, so it is rather ironic (and not in the least frustrating) that Kurzel and Co are intent on ignoring that for the better part of the film, focusing instead on a plot inhabited by characters so ripe with pathos they're ready to explode in a sea of pantomime dramatic expressions.
And even when they try emulate the game it is often good but never brilliant due to an unnecessary kinetic camera, often losing sense of space and direction.
I appreciate the fact that they tried to be different, but that should never win over trying to be good first.
They say you only get one bite, but Michael Fassbender created Apple one year and then went chasing after it the next. As the prophet says, “Movies are fuckin’ bullshit.”
Fassbender: What the fuck is going on?
Me, at the tv: Right, Michael?!
There’s a scene where Michael says, while incapacitated, I can’t feel my legs. A scene later he’s shown rolling around in a wheelchair.
From then on I was telling myself this was alternate-universe Magneto who swapped places with Xavier—anything to repress my insatiable boredom.
