A sword and sandals outing that should have merited a Caesar-like thumbs-up...

From Neil Marshall, director of horror hits The Descent and Dog Soldiers, comes a chase thriller set during the Roman occupation of Britain. Centurion follows Quintus Dias (Michael Fassbender), a Roman centurion who escapes from his Pict captors and finds the legendary Ninth Legion and their commander, Titus Virilus (Dominic West), on route to destroy the Pict army and their King. However, there is a traitor within their midst, leading the Ninth into a trap…

Inspired by the stories of the true Ninth Legion, one of Rome’s most successful legions who supposedly disappeared without a trace, Centurion indulges Marshall’s own theory that the legion was massacred, with only a few survivors who desperately try to make it back to their own lines while being pursued by the Picts. While catering to historical possibility, this plot device also serves the movie’s budget, focussing the action on a small group of soldiers and disposing with the costly scenes involving the entire Legion early in the film.

Considering Marshall’s history of violent British cinema he would seem to be the perfect choice of director, and with the combined talents of Hunger’s Michael Fassbender, The Wire’s Dominic West and a supporting cast that includes Olga Kurylenko, David Morrissey, Liam Cunningham and Noel Clarke, Centurion has the potential for greatness.

It is a shame, then, that the movie disappoints. The cringe-worthy opening credits ruin otherwise impressive cinematography, salvaged only by an interesting introduction to our protagonist. The cast do what they can with an occasionally interesting but largely clichéd script that sees the soldiers talk in down and dirty terms more reminiscent of modern soldiers than the thoughtful eloquence of Gladiator. While this can at times be a nice change on audience expectations of historical dialogue, it often comes across as awkward.

Perhaps most strange is how the talented cast frequently felt wooden. Much of this derives from the speed with which the film is treated. Subtracting the action/chase sequences from the ninety-minute running time leaves little room for character development, and lines that should have been delivered with depth and time are rushed, losing all emotion and ultimately robbing most characters of sympathy and interest. Furthermore, the actions and decisions characters make are hurried over, moving the film along without much thought.

"Centurion feels more like a Western (complete with a Butch and Sundance homage) set in AD 117"

It is ironic, then, that the standout performance comes from Olga Kurylenko (famous to most audiences for her underdeveloped role in Quantum of Solace), who plays a mute Pict warrior. Her character’s past, and the emotion she projects through her eyes, far surpasses the clunking dialogue most other characters are forced to deliver, and she emerges from the movie with her talent intact.

The film is not without redeeming features. Heavily channelling the opening scenes of Gladiator, complete with a washed out, blue-grey colour pallet and winter forests, the film looks and feels superb. Complimented by excellent costumes and armour that belie the limited budget, I could happily have watched another hour, had it been spent on developing the characters and story. What most surprises is that, given the relentless and tough treatment of violence Marshall showed in The Descent, here the editing prevents the action from feeling as tough or gritty as you would expect. Most cuts are so quick we only see a flash of blood, and the action scenes are ultimately less exciting than the chase sequences. Indeed, Centurion feels more like a Western (complete with a Butch and Sundance homage) set in AD 117, and succeeds in creating an enjoyable hybrid of styles. However, the lack of thought that went into the plot and characters – even resorting to a clichéd and predictable ending featuring 28 Weeks Later star Imogen Poots – undercuts the movie’s promise. It is, nonetheless, a far superior film to the other historical adventure movie involving the Ninth Legion, The Last Legion, but it will be interesting to see how Kevin MacDonald’s adaptation of The Eagle of the Ninth compares.

Ultimately, Centurion is a film bursting with potential but let down by a poor script and characterisations. The cast do their best with what they are given and the room the direction leaves, but it is the excellent cinematography and look of the film that is its saving grace. Centurion is a disposable, often enjoyable thrill ride, but there is little here to remember or treasure.

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