Max Payne

Max Payne- 2008

It seems that a rule of thumb exists when examining certain genres of movies which seem to inexplicably and infinitely churn out low calibre products. While by no means am I making unfair generalizations as exceptions always exist, the aforementioned dreck seems to reside within three cliques of the movie industry. The first, not surprisingly, are remakes which recently populate yearly release schedules like bunnies. The second, and again as I’m sure you could have surmised are sequels and are akin to the former. The last of this Bermuda Triangle of sub-par cinema are adaptations derived from less then conventional sources; toys, songs, old television programs, attractions and last but not least (well, actually least) video games.

Despite a cornucopia of inspiration at their disposal, the [less then] creative minds if Hollywood cannot seem to give rise to anything particularly memorable. Now that is not to say nothing watchable has emerged from this sub-genre, as I enjoyed the Resident Evil series on a strictly B movie level, but there is most certainly room for improvement. This time round we have the adaptation of the long running franchise, Max Payne. I personally have never played this game, but even I can deduce that something must have been lost in translation, or I would otherwise be forced to make large scale generalizations about its fan base. In director John Moore’s imagining mostly everything is taken much too seriously, especially when boasting a storyline about drug-induced hallucinations involving winged demons. Mark Wahlberg’s Max Payne might as well have worn a mask, as the only thing that moves on his hardened face is his mouth when he talks. And in its attempt to be stylish, the art direction (although stylish) is much to bleak to be involving.

A more tortured man you are not likely to find. DEA Agent Max Payne’s (Wahlberg) life has been unrelentingly consumed as he searches for the man who took his family away. During a robbery gone wrong, Payne’s wife and infant son are murdered by three assailants, the third of which escaped his vengeful clutches. Sifting through endless case files and dead-end leads, hope finally glimmers after the brutal murder of sexy Natasha (future Bond girl Olga Kurylenko) whom Payne had a brief encounter with. Bearing the same tattoo as one of the slain perpetrators, Payne’s ex-partner (Donal Logue) leads the hardened cop into a cult-like underground drug scene which gives its users terrifying hallucinations, where he joins forces with Natasha’s assassin sister Mona Sax. (played by the vivacious and always sultry Mila Kunis) Together, and with the secret aid of Max’s father’s old partner BB Hensley (Beau Bridges) whom now works at the corporation formerly employing his lost love they try to find out for good what happened to his family. Throwing a kink in Max’s plans is the death of his ex-partner, which, coupled with his connection to Natasha puts him under investigation by Det. Jim Bravura (Chris “Ludacris” Bridges) for the killings.

I have sifted through a number of opinions which feel that Max Payne falls victim to its action. I on the other hand feel the opposite. That the scenes are far and in between the monotonous dialogue and introduction of irrelevant supporting characters. Such an example is a drug user who thinks he is a god and offers nothing but to give Max a faceless adversary. While watching the narrative unfold, I was continuously confused, as most characters were not properly introduced, storylines meandered and the integration of the demons was overdone. Certain scenes were outright laughable, and my theatre and friends seemed to share my view. And the “twist” I found to be quite obvious, and the following scenes were laughably dubious and clichéd. Other then the fact that its hero can endure shotgun, pistol and machine gun rounds, hypothermia and beatings over the course of the film nothing else miraculous occurs, and resides a bar under disposable entertainment, despite (sadly) being one of the more successful game-to-screen adaptations yet. With its dawdling storyline, a distinct vibe of style-over-substance and cringe worthy segments, this fall release adequately disproves the adage, “no Payne, no gain”.