It is unsurprising that, after the lukewarm reception of Warcraft, Duncan Jones chose to return to smaller scale sci-fi. The relative freedom of Netflix funding was squandered on the tale of a mute bartender searching for his missing girlfriend in near-future Berlin. Near-silent protagonists taking on criminal elements invariably means style over substance, though both Drive and Baby Driver have shown it can be successful. Although the cyberpunk visuals are impressive, they are little more than a painted backdrop for uninteresting characters in a messy story that veers into uncomfortable territory due to poor handling of its darker subject matter. The setting invites an unflattering comparison with Blade Runner, seeking to evoke its atmosphere without any world building (the best attempts being the nods to Mute existing in the same universe as Jones’ debut Moon).
“For orcs, there is no other life but war, but with the humans, there could be.”
Warcraft seemed like a fitting way to kick off my mini-break around the E3 gaming convention. Where it succeeds is in bringing Blizzard’s chunky character design to life. The Orcs in particular are stunningly rendered, their actors unrecognisable yet able to convey a range of emotion. Sadly the script attempts far too much in convoluted plotting, at the expense of worldbuilding and character moments. Many gamers may be familiar with Azeroth but newcomers will see nothing more than a generic fantasy world. Whilst the $160 million budget allows a real sense of scale to the battles, the stakes are only ever as high as our investment in the characters, and there is scant opportunity for this to develop. This is a particular shame as some of those quieter moments are the film’s best.