I thought this might be good so I played the first one a bit as Tom said it was the tapir’s nuts.
I had to stop after London. I thought the spiel was the story was good, but keeerrrriisst it was awful.
It’s a bit hard to root for a guy when he’s so monotonic and one dimensional you want to box him around the ears to see if there’s anything clattering around in there. ‘Committed suicide for the cause. Good guy. Wonder if I would? … I would. I wonder what I’ll have for breakfast tomorrow?’
This guy is so awesome and has so much shit to get done right fucking now he slams the door in frustration at a guy who wears an adult nappy.
And whats with that chick who just rolls over for him the moment she’s done spoon feeding him and scrubbing her parent’s brains out of her blouse? I didn’t even hear them have a decent conversation.
14 years in a fucking coma, and he what - fucking deadlifts on the weekend? Jesus wept!
The best part was when that crazy Prussian bastard slit the limeys throat. He could talk underwater that guy. I could have sworn I saw ol’ blue eyes breath a quiet sigh of relief.
But I have to give it points for the villainy. The wok eyed facial animation really brought out the batshit crazy thousand yard stare.
I replayed some of Chronicles of Riddick a while back, and the monotony sort of stuck out to me too there. I guess it’s a real Swedish metal thing.
There’s a sense of campness in the original which really lightened the tone. I can see where they tried to hit that, but it’s the protagonist who needs to be recoloured.