Cedric Nicolas-Troyan

  • Kate (2021)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, July 2022) There have been many, many movies about assassins lately and roughly 90% of them revolve around “one last job” uncovering that their mentor/handler/organization is trying to get them killed. Kate doesn’t get any points at all for reusing that specific plotline. It does, however, get a few nods for combining that plotline with a DOA-inspired ticking-clock motivator. But it’s largely a style exercise, as director Cedric Nicolas-Troyan (rebounding from the execrable The Huntsman: Winter’s War) gleefully uses the neon lights of modern urban Japan as a backdrop to John Wick-style stunt work. (The similarities as not accidental, as David Leitch produced both films.)  It’s also a more-than-modest success for Mary Elizabeth Winstead, as she polishes her credentials as a potent action heroine, with the overall brutality of the film heightening her performance. The result is certainly not something that will burst out of the action hitman genre—the borrowing from better influences is all over the place, and the film’s gleefully blood-soaked action (plus inevitable downer ending) is often too sadistic to be entirely fun. But those who are looking for some bone-crunching genre action should be satisfied by Kate—not by much, but at least enough to keep watching despite the very familiar material.

  • The Huntsman: Winter’s War (2016)

    The Huntsman: Winter’s War (2016)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2016) The current crop of fantasy films seems hell-bent on proving that even wall-to-wall special effects can’t ensure a film that will be remembered once the end credits roll. I’ve had issues in the past with trying to write reviews of dull fantasy movies weeks after seeing the movie, but with The Huntsman: Winter’s War, I’m not taking any chances: I’m writing this the lunchtime after, because the longer I wait the less I’m going to remember any of it. It’s dull enough that I even have problems the day after. Once again, the fairy-tale inspiration has been squished through the Hollywood blockbuster screenwriting machine to produce extruded product clearly more inspired by past movies than by any kind of personal statement. This wholly unnecessary sequel to Snow White and the Huntsman completely evacuates Snow White (other than a few bogeyman-like references) to focus on the Huntsman as he’s thrown into another adventure involving the Evil Queen’s sister. Or something like that. As I said; it’s not a good movie, and it can’t even manage to be a memorable one. I think it’s slightly better than the original, but that’s by the sole virtue of not having Kirsten Stewart anywhere near the screen. Charlize Theron and Chris Hemsworth are back and they’re generally tolerable. Emily Blunt is (hilariously enough) being asked to play the more-evil-than-evil sister and the result is as unconvincing as it is disappointing. More hilariously, Jessica Chastain shows up in a skintight black leather suite to play an elite medieval assassin and that ends up being the most visually spectacular aspect of a film crammed with computer effects from beginning to end. While director Cedric Nicolas-Troyan tries his best to keep the film propped up, he can’t do much with the incoherent script that stumbles from a prequel to the sequel to the first film and never quite figures out whether it wants to be a follow-up, a Snow-Queen influenced sideshow or its own thing about love and other meaningless blather. It’s profoundly uninteresting despite the occasionally good visuals and it pretty much autodestructs upon viewing. It’s films like The Huntsman: Winter’s War that not give the fantasy genre a bad name—how about we drop the special effects and get back to an actual sense of wonder instead?