El sicario de Dios

dark, dramatic, decent mixture of religion, vampires, not bad acting, impressive fight scenes and special effects. and, maybe more important, a realistic story, the presence of Paul Bettany and Urban being useful ingredients for a film who gives the expected scenes, emotion and fascination.

Futurist film based on graphic novel series "Priest" by Min-Woo Hyung with interesting screenplay by Cory Goodman . After centuries of war between humans and vampires , the Church assigns warrior-priests to defeat the vampires . The survivors are kept in reserves and hives and the men live in chaotic cities governed by the Church . A rebel priest (Paul Bettany , Gerard Butler was originally cast) disobeys church law to track down the vampires who kidnapped his niece (Lily Collins , Phil Collins's daughter) . His War is Eternal but his mission is just the beginning . The outcast priest sets out to look for his niece along with a young sheriff named Hicks (Cam Gigandet , though Steven Strait was originally cast) . Then , they encounter themselves chased by bloodthirsty , predatory vampires which have added them to his food chain . Sooner a warrior Priestess (Maggie Q) unites the Priest and Hicks in their quest . The duo along with the priestess must confront carnivorous mutants , hordes of warrior vampires starving of human blood and some of the most horrifying creatures ever made . At a hive the group is surrounded , as they encounter a pack of carnivorous , crawling creatures that are waiting for them , facing their destruction and exposed to cruel bites by meat-eating sickos and finally battle their deadly enemy , Black Hat (Karl Urban) . They undertake a desperate fighting to survive and chase a train to find his niece called Lucy (this is a throwback to the Dracula of Bram Stoker, where there is also a character named Lucy, who is also an engaged redheaded girl in need of saving) .

This exciting picture is set in a post-apocalyptic , an alternate world , one ravaged by centuries of battle between human and bloodsuckers , it contains thrills , chills , plot twists , action-filled with fierce fights and lots of gore and guts . The terror and action moments are fast moving and compactly realized . The film turns out to be a crossover among several films , taking ideas here and there , resulting to be an entertaining movie . And of course the theme of people being stranded in a hostile , perilous environment with attackers creatures is justly reminiscent of many others films as Pitch Black , Pandorum , Descent or Resident Evil saga . The creepy images of wide range from the genuinely fantastic to the bizarre along with an eerie and amazing frames . It's predictable but also its predictability is redeemed for some extraordinary surprises and in part by the charismatic acting from the main protagonists , Bettany and Gigandet . Furthermore a notorious secondary cast as Christopher Plummer , Brad Dourif , Stephen Moyer , Alan Dale , Madchen Amick , among others . The flesh-eating mutants appearance deliver the goods, plenty of screams, shocks and tension. The make-up assistants and visual effects artists create the truly terrible cannibal vampires , adding spectacular frames in 3D . Horrifying and astonishing images about eerie events and creepy scenarios are colorfully photographed by Don Burguess , and including luminous scenes from a futurist desert . Thrilling and suspenseful musical score by Christopher Young , an expert on dark atmospheres . The motion picture was well directed by Scott Charles Stewart , a visual effects specialist and who previously made a similar flick titled ¨Legion¨ . Rating : Acceptable and passable . Worthwhile watching .

A priest throwing crosses like throwing stars into a vampire caught my attention.

Vampire meets post-apocalypse meets religious iconography meets Western. Staring Paul Bettany. I had the misfortune to see Legion and I've yet to forgive Mr. Bettany for participating in that wretched wince-fest. So given the actor and the genre, it's probably not going to be an Oscar-nominated type of film. But you know that the moment you saw the trailer.

As a Catholic (the orthodox type that grudgingly accepts Vatican II but mutters about 'the good old days' entirely tongue-in-cheek) it caught my eye. If you happen to be Catholic, every time you see a trailer for a movie where Catholicism is notably featured, you think to yourself 'Oh boy, how are they going to do a hack job that makes it out to be nothing like it actually is this time?'. Can't blame writers though, it's a religion that provides a deep, deep mine of interesting looking iconography and concepts (Apparently Catholic priests are the Ghostbusters of any movie that involves exorcism. You know who they're going to call. An old priest and a young priest.)

Interestingly enough, this film really... Doesn't involve religion. There's the iconography of Catholicism, a few words here and there, but there's really no actual religious content to the film. It's as if a tourist from another planet did a really in-depth one month tour of all things Catholic, but unable to understand the language, did the best job they could of representing it to their friends back home. The film doesn't denigrate Catholicism, it treats it more like a grab bag of 'ooo, that sounds / looks cool' material. It's a post-apocalyptic vampire western that involves characters that participate in a world where there's a State-run religion that is akin to Catholicism in a weird sort of 'parallel dimension where everyone has a goatee' type way. It's what you think you know, but not.

The movie itself is visually interesting. In many ways, it's similar to Event Horizon - another film where a concept wrapped in bad dialog with little to no sane plot caught the viewer's eye with interesting imagery.

Do you like vampires? Do you like westerns? Do you fancy a post-apocalyptic world? Does religion intrigue you, but in a 'not enough to be serious about it' way?

This is your film. It's not a bad film. It's not a great film. If you like certain things, like I do - vampires, vampire killing in a kick-ass style and a certain visual je ne sais quoi, 'world view' that's unlike anything else out there, it's worth seeing.

People you shouldn't take with you to see the film: Serious boring types that get upset if there aren't things like 'good dialog', 'character development' or 'a plot that doesn't make you put your head in your hands'. Much like Ke$ha, it's one of those catchy things you would never admit to enjoying to anyone you respected.

If you happen to be Catholic, rest assured that it's not butchering the religion and presenting some horrific view of it that alienates all who would see it. That's because it doesn't understand religion, but hey (blame the material it's based on - eastern writers tend to have a really strange view of Catholicism and Christianity in general.)

See it in 2D if possible. Like any 3D film originally shot in 2D, the 3D isn't great. Not as bad as Alice, but Avatar it ain't. While rated PG-13, taking anyone who isn't in college or older to see it isn't going to add anything to their life at this point.

And, if you, like me, enjoy it - try not to mention that in respectable company and we can just nod at each other in passing, secure in the belief that not everything enjoyable under the sun needs to be Oscar-worthy material.

Visual effects developer-turned-director, Scott Stewart, delivers his second supernatural action film that claims to be "adapted" from the comic book "Priest". Supposedly based on a Korean comic or "manhwa" of same name, the movie "Priest" has NOTHING to do with the original, not even the name of the squinting "strong silent type" main protagonist played by Paul Bettany. Fallen angels, deal with a demon, multiple time frame story lines and all other interesting elements of the original be damned. And perhaps it was for the better since the manhwa's multiple story lines taking place in the Crusades, the old west and the future would just confuse the heck out of everyone.

So they crafted a whole new premise to appeal to the superficial summer action lover. And the one thing they did right was to give us vampires that do not sparkle in the sunlight. These vampires are all teeth and claws who swarm across the world at night attacking from giant hives, a clear reference to the "Aliens" franchise. These savage beasts have been at constant war with mankind since the dawn of time. A beautifully bloody animated prologue sets the back-story of the film about how mankind's salvation came in the form of the Priests, holy warriors who battled the vampire hordes to near extinction.

This story revolves around one of the veteran priests who lives among the other downtrodden human inhabitants of a walled dystopian city ruled by the now totalitarian church. When he receives word that his niece was abducted by a murderous pack of vampires, the priest breaks his sacred vows to venture out of the city and rescue her. He is joined on his crusade by his niece's boyfriend, a young trigger-finger wasteland sheriff. But as the duo soon discover, reports of the vampires' return have been greatly understated. With a powerful yet familiar threat is leading the newly reformed vampire hordes, the wayward Priest and his companion must fend off supernatural foes and contend with a group of fellow Priests sent to hunt down their rogue brother.

"Priest" is one cliché storm of a film that commits the cardinal sins of a paper thin plot and forgettable characters thanks to the inexperience of first time writer Cory Goodman. The characters are so forgettable that the writer never even bothered to give many of them names. Paul Bettany's main character is just called "Priest" (It is not his name by the way). There is also "Black Hat" (because he wears a black hat) and "The Priestess" (because she is a female priest) just to name a few. They are less like actual characters and more like blank character archetypes thrown in for plot convenience. Archetypes like Cam Gigandet's hot headed Sheriff Hicks (a second reference to Aliens perhaps?) and Lily Collin's damsel in distress Lucy are just as forgettable even though they do have names.

Failing to provide interesting characters or a good story, the least the producers could do was to deliver a holy hell load of violence with a hard R or M18 rating. Sadly the animated prologue has more blood and guts than the entire film combined since most of the gorier battles take place in darkness or amid dust. The Fights are well choreographed but they tend to be more stylish than practical and sometimes border on illogical. For example, a duel on a high speed train is awesome but none of the combatants ever thought of kicking his opponent off the side? But despite these failings of the flesh, some salvation comes to "Priest" in the form of an excellent production design. From the dark cyberpunk inspired Church city to the post apocalyptic western towns dotting the hostile desert lands, great attention had been paid to make those places as believable as possible. Perhaps most memorable would be the tech on display in the film which includes futuristic motorcycles, tricked out shotguns and the Priests' arsenal of deadly cross-themed blade weapons.

Beyond the props, flawless visual effects and startling CGI, the movie tries as well to inject its narrative with deeper subtexts. The Priests themselves call to mind stories of War veterans who were shunned by society and unable to re-integrate, a theme made most famous in "Rambo: First Blood". The film also makes fun of how some churches twist their religion into a means of control, the hypocritical "holier-than-thou" attitude of modern Christians and their single minded belief that they remain "saved from evil" as long as they worship God. It is not intentionally "anti-Christian" or "anti-catholic". It is more of a clever satire but there will always be the more conservative ones who would cry sacrilege.

At only 87 minutes long, Priest moves at a brisk pace and at the very least it is not boring. It would no doubt entertain action junkies and fans of post apocalyptic thrillers although more time could have been spent developing the characters or delving into the underlying themes that were addressed. Priest is spectacular but soulless, with a nice looking "body" but barely enough "blood" and "spirit" to satisfy the more sophisticated movie goer.

6.5/10 Rounded down to 6

Based on the long-running Korean comic of the same name, Priest is one of those films that's been stuck in development hell for the last few years, running a gauntlet of director and lead actor changes and more recently, coping with a series of release date delays in order to facilitate the inevitably shoddy post-production conversion to 3D that's currently so beloved of mainstream cinema.

The added dimension isn't going to win any prizes - for the most part it is relatively pointless, and the world in which Priest takes place is not interesting enough to require any additional depth.

The ever-reliable Paul Bettany stars as the titular character. Stoic to the end, he's not your typical priest - more a deadly weapon, specialising in martial arts and weapons skills that make him the perfect killer. He exists in a time where vampires are a horrifying reality, battling humans for control of a conflict-ridden, barren wasteland punctuated only by large, soulless, church-controlled cities where humans live only for their faith and 'an honest day's labour'.

You don't watch films like this expecting an Oscar-winning tale, and action-wise, Priest is fairly solid, packing in a series of high-octane fights and chases for its duration. Helmer Scott Stewart knows where to put a camera in order to maximise the impact upon the viewer, and the oil-slick manner in which everything is filmed shows a director moving away from his previous field as a visual effects specialist and having a decent stab at mastering his craft.

Unfortunately, there's not a lot going on when knives and bullets aren't being flung around - the supporting cast of Cam Gigandet, Maggie Q and Karl Urban are given next to nothing to do and the dialogue serves only to move the film along to its next set-piece. Story-wise, it's paper-thin, and it's difficult to care about the motivation of any character when the levels of emotion on display resemble that of Mount Rushmore.

It is also strangely edited - 87 minutes is very short for a film with this kind of budget, and there's all manner of blunt cuts that give credence to the theory that there was once a longer, potentially better film here.

So, was Priest worth the wait? Not particularly, but for all its faults, it certainly has promise. Depending on box office performance, it could really benefit from a deeper, beefed-up sequel along the lines of Blade II. The good news is that there's plenty of source material available for a return to this mythology - it's just a shame that it's as shallow as the film it's spawned.