Dynasty Warriors: a review that didn’t kill a lot of people on Netflix


All eyes are on Mortal Kombat and this year’s Monster Hunter. However, Netflix also hosts video game adaptations in France, produced in China. After the shaky, but vaguely entertaining Double World, it’s the live action of the acclaimed hack ‘n’ slash franchise Dynasty Warriors making its way to us via the platform.

Anyone who’s ever touched the Omega Force franchise knows that film adaptation is one of extreme technical and stylistic challenges. Each of the more than thirty licensed works (at least, after the first) aspires to feature as many enemies as possible to defeat, turning each gameplay phase into an asymmetrical Homeric battle and, therefore, a formidable outlet. Suffice it to say that turning such a system into a real image is not easy and promises to test crowd management software.

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The opening scene, the battle in which an autocrat usurps the throne and inspires a rebellion, intends to rise to the top of the game (in). Unsurprisingly, CGI shows their limits very, very quickly, but the contract is honored: the confrontation rages on, the hero returns and defeats the farmer effortlessly as a hitman in a kindergarten. Fireballs and other supernatural gusts of wind are responsible for sending opposing forces into the stratosphere to better defeat them. The production underscores the absurdity of this human rain with a certain dynamism, and even on rare occasions invokes Last Train to Busan madness.

Unfortunately, we have to settle for . Immersed in a story that painstakingly adapts The 3 Kingdoms, several super-soldiers and super-villains capable of stirring up mobs (literally and figuratively) beg to send out an extra waltz. Nothing but the central sequences, which should reveal their talents to the world, suffer from rhythmic narrative and spectacle deficits. Before the hero ascends, it is necessary to witness the defeat of the entire vassal herd. And while the situation seems to be deteriorating at any moment, the soldiers there are carapates, keeping us from enjoying the warlike debauchery.

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Dynasty Warriors burns all its cartridges very fast. Even if he sprinkles his plot with sporadic acrobatic duels, he ends up sorely lacking in castagne. And it wasn’t the climax, which was long awaited, but very disappointing, that raised the level. By abusing the spatial cues and abusing the blurred digital matte painting, the production unfortunately failed to capture the gigantism of the final fight. Frustration. Very frustrating.

What’s even more frustrating is that the feature film seems to be content with this little bit of fun, so the rest suffer from utter laziness. Aesthetically mediocre, slightly motivated to draw a bit of narrative sense from the vast open spaces (and incredibly beautiful landscapes) he’s staged, he doesn’t huddle around to give a little depth to his character, be announced by a simple box, or even to offer some meaningful interaction. interesting.

Poor Carina Lau, yet a legendary actress, finds herself cursed to read an exhibition in a setting reminiscent of the worst hours of 2000s Hollywood digital technology. The scenes, worthy of a Spy Kids sub or Windows dynamic wallpaper, reveal the general laziness of the test no longer responding to anything after a few effective money shots (cut off headshots are fun anyway) packed.

The script fills the gaps between its abstruse dialogue tunnels with voiceovers that are loud and too clear, telling story details that no one dares to actually bring to the screen. Freewheeling, he introduces goofy romances to two-thirds of the film, as if he suddenly realizes his lack of stakes. At times, he lingers in plays to support his protagonists’ motivations, but only manages to laugh them off even more, in funny sequences that aren’t intentional, like bogus plots.

Even staging is ignored when the iron is not crossed. Using and abusing drone shots, proving once again the risk of misuse of this technology, he regularly gives us to see small pieces of the mountain as the connection between each sequence. Nothing else is needed to definitively settle on the idea of ​​rhythm, the whole thing resembles a nice big fill, playing the clock between two riding slips. In the end, it all became clear: this film would surely be the first of a hypothetical saga that many studios hoped would benefit. In other words, he refusedto come to a conclusion and give us hope that his ambitions do not materialize.