ชื่อภาพยนตร์: Deathstroke Knights & Dragons: The Movie เดรสโตรก: ตำนานอัศวินกับมังกร (2020)
ผู้กำกับภาพยนตร์: Sung Jin Ahn
ผู้เขียนบทภาพยนตร์: J.M. DeMatteis
นักแสดง: Chris Jai Alex, Sasha Alexander, Michael Chiklis
แนว/ประเภท: แอนิเมชั่น , แอ็คชั่น , ผจญภัย
วันที่ฉาย: 4 สิงหาคม 2020
เมื่อสิบปีก่อนสเลดวิลสัน - อาคามือสังหารที่เรียกว่าเดธสโตรก ทำผิดพลาดอย่างน่าสลดใจและภรรยาและลูกชายของเขาต้องจ่ายราคาที่แย่มาก ตอนนี้หนึ่งทศวรรษต่อมาครอบครัวของ Wilson ถูกคุกคามอีกครั้งโดย Jackal ที่ถูกฆาตกรรมและผู้ก่อการร้ายของ H.I.V.E. Deathstroke สามารถชดใช้บาปในอดีตได้หรือไม่หรือครอบครัวของเขาจะจ่ายในราคาสูงสุด?
IMDB : tt12876132
คะแนน : 6.4
รับชม : 2449 ครั้ง
เล่น : 526 ครั้ง
Even with its reliance on familiar tropes, the script by J.M. DeMatteis is very well structured, particularly in comparison to its DC animated brethren. After establishing Slade’s struggles at home, the film quickly shifts to a very impressive action sequence as we follow him on a routine mission to settle some political upheaval in a foreign country. While the quality of animation is par for the course for DC, the choreography of this opening sequence is well done and feels like it cribs from the John Wick franchise at times. The ultra violence can be a bit much at times with Slade able to chop up soldiers into several pieces before they ever hit the ground. Once again, it all feels familiar and safe, but the execution is high enough that it skates by without any major hiccups. Thankfully, the movie ups the stakes once the true villain of the movie is introduced when The Jackal arrives and kidnaps Slade’s son. A few more dismemberments later, Slade’s reckless nature and inability to separate his violent profession from his home life crashes down on him when Jackal slices open Joseph’s throat, making him permanently mute. This first act is incredibly well done, balancing exciting action scenes while eventually indulging in some flashbacks that establish exactly how Deathstroke acquired his self-healing powers and fighting prowess via military experiments.
Ten years later, Slade’s sins come back to haunt him in the form of an embittered ex-wife, an illegitimate daughter, a son who hates him, and the return of Jackal. Under Sung Jin Ahn’s direction, the film does a fantastic job of pacing these reveals to make the odds feel increasingly staked against Slade as he’s made himself the lonely knight of his son’s bedtime story. Even the music by Kevin Riepl features some serious minded synth soundscapes that deliver appropriate mood and tension to the house of cards ready to fall on Slade. There’s fun and games as Slade takes on odd jobs and tracks down old enemies to bring him closer to Jackal, his son, and the entire H.I.V.E. organization behind it all. However, the film quickly realizes its true strength is with the unique Frankenstein of a family Slade has brought together via several bad decisions. Without getting too specific with spoilers, Slade’s absence as a father figure to both Joseph and his illegitimate daughter, Rose, puts him up against an enemy force he cannot fight alone. In that sense, the film hits a high point when Slade’s rescue mission goes sour when he realizes his son, now going by Jericho, may not want to be saved at all. The clear cut heroics Slade is capable of isn’t enough to overcome his past indiscretions, which is a perfect obstacle for a pure solider like Deathstroke to overcome. At the film’s lowest point, Slade directly states the themes of the importance of family and how his self isolation has dug his own grave. DeMetteis’ script makes sure no viewer is left confused as to the message he’s trying to get across, but at least there’s a degree of depth to the plot beyond end of the world machinations.
Therein lies the obstacle the film never quite overcomes. Slade’s fractured relationship with Adeline, Jericho, and Rose is the most compelling part of the movie. Unfortunately, Jackal and Lady Shiva take up a large amount of screen time to mostly espouse grand speeches about harnessing Jericho’s power to take over the world. This results in a rather mundane hijacking attempt on Air Force One in the third act, hardly worth the amount of time setting up this plot line. A silver lining is that Chris Jai Alex’s voice work as Jackal is stellar, with his charismatic bravado making the exposition easier to stomach. Better off are the scenes between half-siblings Rose and Jericho as they bond between their mutual hatred of their father. That’s an interesting relationship, especially given that Rose herself is being manipulated by Jackal. Both Rose and Jericho’s voice actors (Faye Mata and Griffin Puatu) do good work, especially Mata as she manages to instill Rose with equal parts confident malice and innocent naiveté. Once family matters are settled, there isn’t much meat to the story and the final conflict between the Wilsons and Jackal plays out predictably, without much visual flair to spruce up the inevitable. I hope superhero movies start to realize that the interior of military aircraft isn’t the most interesting backdrop.
Most striking of all is how likable this rendition of Deathstroke is, despite the sheer amount of violence he inflicts on his enemies. His moral code comes off fairly standard and borderline heroic from the start despite his bad parenting skills. There’s never a moment where Slade crosses a line that would make him into a truly intriguing anti-hero, much like he is in the comics. This Slade Wilson is a strangely approachable “anti-hero”, whose violent tendencies never feel like a true threat to his mission to reunite with his family. There’s a missed opportunity to really embrace the dysfunction of the Wilson household and Deathstroke: Knights & Dragons surprisingly settles for the “lite R” version of the character.
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