The good Book

Hollywood has unleashed a whole wave of post-apocalyptic films over the past few years, and The Book of Eli amalgamates nearly every one of the genre's cardinal plot-lines. For the most part, it works.

Yes, the imagery consists mostly of barren landscapes, desolate roads, and makeshift towns. And of course, the film's colour palette is a muddy brown, conveying the feel of a defiled wasteland. There's a lone warrior, Eli (Denzel Washington), with a mission of absolute importance for humanity’s redemption—all that’s missing is the one hot girl who can provide him with care and emotional grounding. (Oh wait, there she is, played by Mila Kunis!)

The first half of the film features freshly sombre writing, opening with a slow-tracking shot of a beautifully ash-covered scene. We are thrust into the middle of Eli’s journey, but I would have loved to learn more about his origins. Eli (if his “My Name is Eli” name tag is to be believed), is too cool to take off his sunglasses, but Washington portrays him in a soft-spoken manner—a real departure from his typically powerful diction. He's appealingly humble, but will slice to bits anyone who stands in the way of his mission of delivering a sacred book.

Those looking for fast-paced action won't be disappointed, as Eli hacks away at much of the supporting cast with Matrix-style fighting. This includes Gary Oldman (The Dark Knight), who gives a diabolically noteworthy performance as Carnegie, a corrupt mayor who desires the book. Then there’s Kunis' Solara. I was hesitant at first to believe she'd do well as a psychologically-damaged character, yet she looks comfortable in the role, and pulls off the “bad-ass chick wanting to be saved” character well enough.

The Book of Eli marks the return of directors the Hughes Brothers after a nine year absence. They're renowned for their gritty narratives and gory cinematography (remember Menace II Society?), which are definitely present in their newest work. Between the two non-explicit rape scenes (in a cast that includes only three speaking roles for women) and Eli’s machete wielding, the film's blood-soaked fight sequences would even make Quentin Tarantino proud.

The third act, though, can easily be described as tried and done. The film's reach extends beyond its grasp, in its inclusion of religious and literary undertones—in the third act especially, the narrative becomes more preachy than resonant. The Hughes Brothers can be commended for their efforts to promote moral values over religious doctrines, but there's enough humour in the movie to render the message overall laughable.

The Book of Eli is a highly captivating ride as long, provided that you’re not expecting it to be this year’s Palme d’Or winner. Try to catch it in theatres, as its blood-splattered, bazooka-firing, man-against-the-world plot deserves the full cinematic experience.