The Dark Tower - 97 mins. Approx, Cert: 12A- Sony / Columbia / Imagine Entertainment.
After decades of being in the production doldrums, die-hard fans of Stephen King’s fabled chronicles have been building up to the first cinematic adaptation of The Dark Tower with white-hot levels of anticipation. King is his own king of the chiller: author of such seminal standalone classics as The Shining & Carrie as well as the equally hyped, forthcoming clown-chimera IT - (in cinemas Friday 8th September), he’s in the doomy midst of somewhat of a late-career reconnaissance.
Penning the adaptation is screenwriter Akiva Goldsman; a writer of striking visual aplomb: nineties Batman’s Forever & Robin, I Robot, I Am Legend, and more recently the much-misunderstood A New York Winter’s Tale.
It’s also produced by Ron Howard’s company; another nineties powerhouse: Imagine Entertainment.
It’s entertaining, and has stylish cinematographic touches of slow-motion, speed-ramped editing (my screening wasn’t in 3D - but I’m glad the motif of so-called ‘bullet-time’ makes a return, even if the impact of those techniques is far more muted than I was expected.
Perfectly enjoyable it may be, but in a commercially inconsistent summer of a very hyped, well-publicised slate of blockbusters: (Baywatch, Ghost In The Shell, even Soderbergh’s Logan Lucky unexpectedly flopped in the U.S.) - Tower may suffer from the fact it could’ve been far more daring, sharper and scarier than it is - instead of a very muddled confection.
It’s Taylor Hackford’s Devil’s Advocate, (nowhere near as gripping or edgy), mixed unevenly with more family-orientated versions of Jumanji or Zathura. King purists may be doubly disappointed, not only by vast liberties taken with the source material, but also by rushed pacing, easy plotting choices made for convenience, and safe sanitisation of shocks in favour of securing a 12A audience - as opposed to making it darker and riskier.
Both Matthew McConaughey (terrific; stealing the show with a drawling malevolence as Walter - The Man In Black) and Idris Elba (dependably stoic), subtly and skilfully make the delivery of Goldsman’s often complex script look effortless. But the dialogue is so needlessly didactic: ‘He has the boy! We must save him / I know!’. But I hope to see more, and the effects are impressive.
Rating: * * *