It seems that doom is approaching, judging by the spurt of Hollywood flicks that focus on the chaotic effect or the lives of those lucky enough to make it through. With The Book of Eli the Hughes brothers are able to make a world that is both after the fact while in someway being hopeful of a recovery. Though sometimes (and I do believe intentionally) preachy, The Book of Eli is also a breathtaking kick-in-the-face.
At its root you might mistake the film for a faith-based fundraiser. You have Eli (Denzel Washington) essentially roaming the wasteland looking for someone to teach the lessons of the good book. Once you see him kick butt, that’s when you know something is amiss. Did our spiritual leader just chop off limbs and noggins? Indeed he did. Those violent moments, awe-inspiring cinematography, and a synth heavy score separate it from direct to video humdrum. As with almost every film he’s in, Denzel goes unwasted. As Eli, he doesn’t have as many lines as we are accustom nor does exert commanding authority. It’s a role that’s slightly physical, and obviously outside of his typical fare.
When Eli encounters a settlement, he seeks to refill his canteen. Unfortunately for him, he has stumbled into the one place ran by a madman who happens to be looking for his prized possession. I’m talking about Carnegie played by Gary Oldman. Though I’m confused as to how he came to power, he certainly has their loyalty. One of his indentured servants is Solara (Mila Kunis), who is offered as a peacemaker between Carnegie and Eli. Within a short time the two hit it off in a mentor/protégé way and embark to continue Eli’s quest westward.
The first thing that caught my attention is the precision in shot composition. Brothers Albert and Allen Hughes continue their masterful shooting techniques. Cuts are slow for viewers weaned on Michael Bay. In some cases the camera travels with the action, and yeah the scene I’m talking about seems inspired by Bad Boys 2.
The focus of the film is more on the plot than character development. Visual effects compliment it as well; they meet the viewer halfway. Instead of looking like a tripe festival of look-what-I-can-dos you see what you need to understand the world. Most unexpectedly, the music is a captivating new age recipe that is pleasing in its own right but memorable enough to attach to this narrative.
Even if you take out the absurdity of this book as a MacGuffin, you have to look past some conveniently unused ammo that’s been sitting ideal for 30 years. Oh, and apparently fuel isn’t going to be the problem The Road Warrior lead us to believe. This is all just the tip of the iceberg, but somehow despite holes and conveniences The Book of Eli works. The occasional appropriate gag mixed with frequent violence goes a long way in making a downbeat theme enjoyable. Inspired 180-degree dolly shots, cool chromed colors, and subdued CGI make it easy on the eyes. Even a bizarre plot twist is capable of upping the positive attributes no matter how much I question its ridiculousness. Here is a movie that is a fine example of how the merit of its parts can make for a better experience. ***
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