In truth, a significant part with the third act lifts almost verbatim in the climactic battle scenes of “Star Trek II: The Wrath of Kahn” (which took me completely out of the film, right down to the use of an actual line from said film. The only thing that appeared to be missing was a mention of the Genesis Device). The heavy usage of ships and Bloom’s presence are evocative of Disney’s the mega “Pirates” franchise, made much more so by the Hans Zimmer- en aning scorings of Paul Haslinger. In many cases the pilfering of previous sources are glaringly jarring. Then again, it’s been argued that storytelling originality is right now non-existent and it’s facts about taking old elements and rearranging them within a fresh manner. Also, there are moments wherein there are head-scratching, unexplained leaps of logic which can be used to propel that story forward.
Such swiping would be almost insulting if it weren’t for the truth that they are offset by the films breezy pacing along with the mostly earnest performances of actors involved. In Lerman’s D’Artagnan, we finally get a character whose youthful exuberance is endearing in lieu of annoying. MacFadyen’s Athos sports his pain and honor well, though he plays their character a tad joyless particularly when up against his Catwoman-like lover/nemesis, Milady De Winter (played by Milla Jovovich, “Resident Evil” films and wife with the director), whose performance attempts to combine the slyness of Faye Dunaway’s interpretation while using the physicality of her Alice personality with mixed results. People saw the banal evil of Waltz’ Landa in “Inglorious Basterds” will find his performance of Primary Richelieu lacking, though hardly a supreme disappointment. He enjoys himself with his part. Though very wood as always, the same can be said of Bloom who usually relish in the point that for once he extends to play the bad fellow. Though limited in setting, he does seem to be enjoying himself thoroughly. Mads Mikkelsen plays Rochefort as being the quintessential villain one wants to hate.
Not like other “Musketeer” films, which many of the conflicts came more in the verbal repartee and sophisticated, chessman machinations than real swordplay, this one wears its physicality like a badge of honor, employing some impressive struggle choreography (even whether it is parsed out with your already worn-out-its-welcome slow motion among battle. At least here it’s put to good use to showcase some of the intricacies of the struggle choreography), and one of the few films in which proper forms and stances are represented in the choreography, though that is something stunt combatants would appreciate. In this film, your stakes, while high, seem without requiring urgency or menace. Again, despite their playing outstanding heavies in past assignments, Waltz and Mikkelsen seem muted in their villainy; whether due to the direction or the tone in the film is unclear. Even now, their roles never quite live up to the potential they might well have had.
The film makes good use of 3D, making it much more fantastic in presentation, but it would just as entertaining without the need of it.
“The Three Musketeers” really should not be considered a bad film when taken in as its own entity.
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