Hey guys? Don’t forget to feel bad for Communists, too.
In the early 1950’s, during Stalin’s rule of the Soviet Union, MGB Agent and war hero Leo Demidov (Tom Hardy) discovers that there’s a series of child-murders occurring in the area that nobody’s really paying attention to. But before he can ever get a chance to bring it to his superiors and going ahead with the investigation, his wife, Raisa (Noomi Rapace), is accused of being disloyal to the government and giving certain secrets away. Though Leo is not currently happy with his wife, he still sticks by her because he loves her and that’s what a husband ought to do. Problem is, this puts him the same problems that she’s in, which then has them demoted to a militia position in the gritty, rusted and ragged town of Volsk. Here, Leo is under the command of General Nesterov (Gary Oldman), who doesn’t know whether or not he can trust Leo, but knows that they’re both fighting the same battle as they discover, yet again, another dead boy by the side of the train-tracks. With Nesterov’s approval, Leo sets out on his own adventure to discover who this killer is and stop him before he takes anymore victims.
How on Earth does a movie with the likes of Tom Hardy, Noomi Rapace, Jason Clarke, Charles Dance, Vincent Cassell, Joel Kinnaman, Paddy Considine, and hell, Gary Oldman only get $600,000 on its opening weekend? Though I understand that not all of these names are household ones that could most definitely open up to heavy-hitting box-office runs, there’s still a part of me that wonders just why the hell something that attracts so much attention like this could go so far under the radar? Because even if a movie is bad, it’s not $600,000-bad, right?
Just think of the Drop.
Well, kind of.
See, the main problem with Child 44 is, despite the onslaught of talent in front of the camera, director Daniel Espinosa and screenwriter Richard Price can’t seem to make up their minds about what they want to do with this movie. Though I’ve never read the novel, I know that it’s quite long novel, and to try and condense it into a two-hour movie, may not have been the best choice – especially since what’s supposed to be the central plot-line of the story (serial killer on the loose), is basically an afterthought. This is alright if Espinosa and Price wanted to focus more on the paranoia that surrounded Russia during this time, but the two don’t even seem that interested in talking about that, either.
Instead, Espinosa is more interested in how bloody and violent he can make some of these sequences, which makes huge sense when you remember that this is the same guy who directed Safe House. That movie, just like this, was helped incredibly by the fact that there was some thought and care put into how the action-sequences were orchestrated and what effect they gave off to the audience; here, they seem spliced in as Espinosa couldn’t control his blood-loving urge. Price, on the other hand, is trying to make something of a meaningful drama, but once he realizes that Espinosa could care less, he basically gives up, too.
So basically, everybody involved with Child 44 gave up about half-way through.
Which would probably be a smart idea for the audience too, however, there seems to be a lot more of an effort from the rest of the cast. The only downside of having a cast this good, in a movie like this, is that they’re all disappointingly saddled with some terrible Russian-accents, which can sometimes vary from being okay, to downright indecipherable. There is some joy to be had in listening to these actors try their hardest to nail down the right tone for their ill-put accents, but it takes away from the movie; there’s so much going on, with random twists, turns and revelations coming at us every second, it’s hard to take note of them when there’s no clue of what the hell anyone is saying to begin with.
And don’t get me wrong, everybody tries. But when the movie that’s supposed to be aiding them, seems to have no idea of where to go, what’s the point? Tom Hardy seems the most interested out of everyone, and it’s only because of him that this movie stays watchable. While there’s something inherently flawed about how this guy goes through his day-to-day life in such a vicious and inhumane manner, it’s nice to see how he interacts and holds a relationship with his wife, as played by Noomi Rapace. Rapace and Hardy were great together in the Drop, which makes me wonder if they were filming both movies side-by-side and already knew which one to give most of their time and effort to. Though the Drop and Child 44 are two different movies, Hardy and Rapace are easily the main reasons to see both of movies, even if the former is at least four times better than the later.
And everybody else that isn’t Rapace or Hardy are, well, fine. Once again, they’re trying, too, but it goes nowhere to help them. Jason Clarke is in the movie for maybe five minutes and has the worst Russian-accent of them all (so yeah, good riddance); Joel Kinnaman’s character is such a one-note villain that, I imagine, it would have been hard for any skilled-actor to make something interesting out of this character than just a black heart, let alone Detective Holder; Vincent Cassell is, as expected, just evil; Paddy Considine is as weird and twisted as he’s supposed to be; and Gary Oldman shows up as the more sympathetic communist in the movie, even if he gets short-shifted being able to do anything more.
So in other words, watch for Tom Hardy and Noomi Rapace. Or, screw this movie altogether and watch a better flick containing the same combo: the Drop.
Or don’t do either. Suit yourself.
Consensus: Child 44, despite boasting an impressive cast, never gets itself together as too many strands of the plot come in, only to fall apart moments later, then start back up after someone’s blood is shed because it’s a movie about Russian communists.
3 / 10
Or hell, Game of Thrones. Just watch anything else!
Photo’s Credit to: IMDB, AceShowbiz