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The origins of the centuries-old blood feud between the aristocratic vampires and the barbaric Lycans (werewolves) is revealed. With Michael Sheen and Bill Nighy. Directed by Patrick Tatopoulos. Screenplay by Danny McBride and Dirk Blackman & Howard McCain. Screen Gems, Jan. 23.
It's vampires versus werewolves in the Dark Ages. So, dude, why do you look so much like a modern rocker?
Michael Sheen has made his name playing famous people in films -- British prime minister Tony Blair in "The Queen," talk show host David Frost in "Frost/Nixon" -- and for his return to the "Underworld" franchise, his stylists seem to have taken Harry Shearer's "This Is Spinal Tap" rock 'n' roller for inspiration.
Except here, Sheen's pants are tighter.
These are the little things you notice while watching esteemed British thespians like Sheen and the always enjoyable Bill Nighy devour scenery with their pointy-pointy teeth in "Underworld: Rise of the Lycans," the third film in Screen Gems' grimly competent, vampires-versus-wolves franchise.
"Lycans" follows the current trend of offering an origin story, here going back 1,000 years to explain just how those not-so-shiny vampires and beast-of-burden werewolves came to loathe each another. Like a lot of things in life, it comes down to power and prejudice. It's hard to get along when the leader of one race, vampire ruler Viktor (Nighy), sees the Others as mindless savages worthy only of exploitation.
Viktor makes a fatal error, though, sparing the life of a Lycan baby who grows up to become Lucian (Sheen), the hard-abbed, suede-vest-sporting lover of his dear daughter Sonja (Rhona Mitra). Viktor sees Lucian as a pet. Sonja wants to have his baby.
Needless to say, she's thinking twice about bringing him home to dinner.
Series creator Len Wiseman gives way here to Patrick Tatopoulos, a creature designer making his directorial debut. It's no loss since both men clearly have an affinity for the absurd. Another change: Now that we're back in the Dark Ages (and we do mean dark, given the paucity of lighting), the weapons of choice are swords, knives and a steel crossbow whose utility for piercing any manner of cranium and cavity is repeatedly demonstrated.
The action sequences accent incomprehensibility, but whenever Lucian gets lashed (and he gets lashed a lot), Tatopoulos spotlights the splatter. Clearly, he has been lining up Mel Gibson movies in his rental queue, having Lucian rally his fellow beasties in a brave-hearted cry for freedom. Well . . . freedom and some high-quality hair care products.
It's vampires versus werewolves in the Dark Ages. So, dude, why do you look so much like a modern rocker?
Michael Sheen has made his name playing famous people in films -- British prime minister Tony Blair in "The Queen," talk show host David Frost in "Frost/Nixon" -- and for his return to the "Underworld" franchise, his stylists seem to have taken Harry Shearer's "This Is Spinal Tap" rock 'n' roller for inspiration.
Except here, Sheen's pants are tighter.
These are the little things you notice while watching esteemed British thespians like Sheen and the always enjoyable Bill Nighy devour scenery with their pointy-pointy teeth in "Underworld: Rise of the Lycans," the third film in Screen Gems' grimly competent, vampires-versus-wolves franchise.
"Lycans" follows the current trend of offering an origin story, here going back 1,000 years to explain just how those not-so-shiny vampires and beast-of-burden werewolves came to loathe each another. Like a lot of things in life, it comes down to power and prejudice. It's hard to get along when the leader of one race, vampire ruler Viktor (Nighy), sees the Others as mindless savages worthy only of exploitation.
Viktor makes a fatal error, though, sparing the life of a Lycan baby who grows up to become Lucian (Sheen), the hard-abbed, suede-vest-sporting lover of his dear daughter Sonja (Rhona Mitra). Viktor sees Lucian as a pet. Sonja wants to have his baby.
Needless to say, she's thinking twice about bringing him home to dinner.
Series creator Len Wiseman gives way here to Patrick Tatopoulos, a creature designer making his directorial debut. It's no loss since both men clearly have an affinity for the absurd. Another change: Now that we're back in the Dark Ages (and we do mean dark, given the paucity of lighting), the weapons of choice are swords, knives and a steel crossbow whose utility for piercing any manner of cranium and cavity is repeatedly demonstrated.
The action sequences accent incomprehensibility, but whenever Lucian gets lashed (and he gets lashed a lot), Tatopoulos spotlights the splatter. Clearly, he has been lining up Mel Gibson movies in his rental queue, having Lucian rally his fellow beasties in a brave-hearted cry for freedom. Well . . . freedom and some high-quality hair care products.
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