Notes

BloodRayne

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Bad staging, a never-functioning dramaturgy, a confused, but nonetheless uninteresting story and poorly managed actors - it seems that director Uwe Boll has better than his first two catastrophic computer game adaptations with "Bloodrayne", the film adaptation of the action-packed PC game of the same name “House Of The Dead” and Alone In The Dark didn't learn a thing. But that's not entirely true, at second glance you have to admit a small improvement: The sex scene between Kristanna Loken and Matthew Davis is still anything but erotic, but at least not as embarrassing as the one between Christian Slater and Tara Reid in Alone In The Dark. So if Boll continues to be such a diligent student of his own mistakes, something like a tolerable C-picture should pop out about his hundredth attempt. And when the next four productions are already in the starting blocks with In The Name Of The King, “Seed”, “Postal” and “Far Cry”, it will probably not take as long as it will at first might suspect.



Half human, half vampire. This is how Rayne (Kristanna Loken, Terminator 3) ekes out her miserable existence as a circus attraction. When she finally manages to escape, she decides to take revenge on the powerful vampire Kagan (Ben Kingsley, Suspect Zero, Thunderbirds) who once raped her mother in front of her eyes. She receives unexpected support from the vampire hunter trio Vladimir (Michael Madsen, Sin City) Sebastian (Matthew Davis, Blue Crush) and Katarin (Michelle Rodriguez, The Fast And The Furious), whose trust she has to work hard to earn. Nevertheless, the way to the final fight against Kagan is arduous and Rayne has to secure the help of three artifacts from her enemy, which guarantee additional powers for every vampire. And a traitor in your own ranks doesn't necessarily make the already difficult task any easier ...



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Uwe Boll's main problem as a director is that he simply doesn't manage to conjure up exciting pictures on the screen in any way. In “Bloodrayne”, too, there was definitely potential for exciting cinema pictures, which Boll systematically remains unused. The circus, which has always been one of the most popular motifs across all genres, with its bearded wife, the Siamese twins and the fire-breathers could have been staged as an exciting and surreal world of images without great effort. But Boll is so uninspired to the point that the result with its constant tracking shot past every freak is simply boring - negligent! And it's hard to believe, not even with Meat Love as vampiric Caligula in a decadent blood and sex orgy, Boll can do anything sensible. In addition, there is a mixture of slow motion and alienation effect, with which the entire film is permeated, but which does not make the pictures more exciting, it just makes them ugly.



It seems a mystery how Boll can always gather such an impressive cast for his films, after all, in his next film In The Name Of The King, in addition to another appearance by Kristanna Locken, Jason Statham, Ray Liotta, Matthew Lillard, Burt Reynolds and Leelee Sobieski adorn the cast list. In addition to the financial side, there is of course a trick behind it. Boll always casts a few weeks before shooting begins, so for the actors who are still free it is said: “Boll or nothing!” On the other hand, of course, this also means an extremely short rehearsal time, which especially with “Bloodrayne” is not just a wooden drama leads, but especially robs the fight sequences of the last bite. The “moves”, especially when swords or other heavy weapons are used, are so primitively simple because of the lack of training that they might have been expected from kindergarten children, but not from experienced warriors. The trick, on the other hand, with which Boll managed to rob Ben Kingsley of all charisma despite the eerie white make-up and cynical sayings, will probably remain his well-kept secret forever.



Just as he rushes from one game adaptation to the next, Boll also deals with the stops on Rayne's (more adventurous?) Journey just as hectically: First she has to collect a talisman here, then she has to pick up an artifact there, and then finally that Flatten the bosses - the PC roots of the story are always ubiquitous. But when the vampire killer jumps around without having to press the square button, such a babbling story is just incredibly unexciting. And the tension machinery doesn't really want to warm up in the individual scenes either. For example, Rayne taps into


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