The Flipcritic

Marvel Enterprises must be slipping. It revitalized the comic book superhero movie genre with X-MEN and sent it skyrocketing with SPIDER-MAN. And now with notable letdowns such as DAREDEVIL and BLADE: TRINITY, it seems to have lost some of its mojo.

It’s disappointing to see ELEKTRA follow in its predecessors’ footsteps. You remember her, Daredevil’s love interest who was just as deadly in combat. I had high hopes for Jennifer Gardner (of ALIAS fame) who plays her, for in DAREDEVIL, she was one of only two things good in the movie (Colin Farrell being the other). Now as the lead character in this sequel, she again is one of its few assets.

The movie portrays Elektra as an assassin supreme for hire. In the movie’s first sequence, she infiltrates her target’s fortress with barely a wrinkle on her garb (somebody from the CIA hire her quickly!). Mysterious forces then pay her two million dollars to assassinate a teenage girl named Abby Miller (Kirsten Prout) and her father Mark (Goran Visnjic). Yet out of the dozens (maybe hundreds) of targets she has terminated before (with a coolness that the film’s opening sequence purports), she isn’t able to pull the job off. Instead she opts to protect the two from a criminal organization known as The Hand, which seems to be composed of 1980 B-movie ninja villains.

The movie’s core premise has promise. Elektra and Abby Miller, the girl she opts to protect, have both lost their parents to murderous forces, all for the sake of exploiting their abilities. Seeing a strong warrior wish to save a young adolescent from ill fate would not be unwelcome. But the movie is filled with confusion, convenience, and contradiction. At almost every turn, ELEKTRA wishes to distract us from its glaring deficiencies. Despite its impressive look and impassioned performance from Jennifer Gardner, the movie’s weaknesses are unforgivable.

The movie supplies itself with meaningless touches, especially that of Elektra’s supposed OCD (Obsessive Compulsive Disorder), which evaporates during great stretches (the movie seems to have short-term memory loss). Elektra’s love interest Mark, has completely no significance in the movie whatsoever, except to supply gratuitous kisses. On that matter, Elektra gets to kiss an ally (man) and a villain (woman). The former serves as an obligatory romantic plot point. The later works to titillate any young teenage boys that Hollywood lives to market for (regardless whether it was done in combat).

Both Elektra’s nemeses and allies are maddeningly baffling. What is The Hand? Why do they disintegrate into yellow puffs of smoke when killed? Why do they insist on killing their enemies without guns? And since they have a woman who can cause objects to deteriorate or die (Typhoid), a strongman who can withstand shotgun blasts and is immensely strong (Stone), and a conjurer who can make his tattoos come to life (Tattoo)… what on earth do they need Abby Miller for?

Elektra’s mentor Stick (Terrence Stamp of THE LIMEY) is mysterious, but not in appealing way. If he is so wise, why does he keep on answering questions with questions? This isn’t wisdom. It’s philosophical hokum. Stick reminded me of The Architect of THE MATRIX RELOADED, supposedly infinitely intelligent, but not smart enough to keep his explanations even remotely clear. Wise leaders do not babble in order to keep their intentions hidden or to confuse. They simply do not speak (but hey, they wouldn’t sound wise would they?).

When I say that the movie is littered with convenience, I mean just that. Almost every plot point is a contrivance, existing for one sole function, to keep the story moving along. The film’s screenwriter Raven Metzner (who had never written anything for TV or movies prior to this) must have had no thought in maintaining even a feeble sense of rationality in his ungainly script. Every significant development is almost impossible to swallow, such as Elektra’s ability to move unblinkingly fast (turn your head, and she’s already there). She’s implied as being quick, but has to do somersaults to avoid enemy blows.

Other prominent examples of expediency involve the defeat of her enemies. It’s remarkable how such powerful metahumans can be so easily dispensed of. One is killed because Elektra dodges at the right moment; another because of a heavy falling object; another because of being caught meditating. The most improbable moment comes when Elektra hurls one of her villain-seeking projectiles. My forehead hurt from each slap I gave it during these moments.

And how about the film’s continuum with everything that comes before it? Whatever happened with her relationship with Daredevil? I admit that Mark Miller is more attractive than Matt Murdock (she must have a thing with guys that have names starting with “M”), but is that the only standard Elektra holds her men to? Isn’t she Greek? Did she forget that her father was a billionaire? Why go become an assassin for the money when you have all the money you need? I’m sure there must be a reason behind all of these unknowns, but the movie provides too many mysteries for it to function within a proper logical framework.

Though Elektra herself suffers from OCD, the movie suffers from ADD (Attention Deficit Disorder). It looks great, but when it comes to fight scenes, it suffers from the same maladies that afflict its recent counterparts. Music Video direction takes over with loud pulsating rock music interweaved with frantic scene cuts. One action sequence involving a forest is indeed lovely, but the last few battles that occur within a manor estate contain editing and imagery made only distract us from poor fight choreography. No one can make sense of what is going, and an understanding of the physical dimension of an action scene is key to its appreciation.

Terence Stamp (THE LIMEY) deserves better than this. Few actors portray cool menace such as he and the movie is unworthy him. So is Goran Visnjic, a handsome actor capable of giving interesting performances (such as in THE DEEP END). I feel sorry for Cary-Hiroyuki Tagawa, who plays Roshi, the Hand’s leader. He seems to be forever stereotyped as the lead Asian bad guy for whatever movie appears in. His look seems perfect for it (with is puckered brows), but he seems capable of doing much more (as he tried to show in AMERICAN ME). Will Yun Lee, who plays his second in command Kirigi, has a soft implacability that is betrayed by his character’s lack of depth.

All of these characterizations are difficult under such a belabored storyline, but none are more thankless than Jennifer Gardner’s (whom I feel sorry for). She gives it her best, and shows no hesitance. She even puts gusto into an annoying strut (which I am entirely sure was suggested by the director Rob Bowman). I still regard her highly and marvel at the focus, soft sensuality, intensity she brings her roles (she reminds me of Hilary Swank, only more muscular). Plus she does some pull-ups that would make Linda Hamilton in TERMINATOR 2 look wimpy.

Marvel better get its act together by selecting the right talent to bring their creations to life. In the comics, Elektra was a dark mysterious force whose sexiness always took a backseat to her deadliness. Any of those qualities are quickly overwhelmed by the film’s senselessness. And like THE SCORPION KING, it disregards all foundations laid before it. ELEKTRA is Marvel’s strike three. Let’s hope the next batter (FANTASTIC FOUR) fares better.

Posted by FLIPCRITIC at January 28, 2005 10:59 AM