In London, a group of thieves penetrate the mansion of the famous and wealthy antique dealer Van Helsing to rob its safe, located in a dungeon that they discover is protected by several traps. After opening the safe, they find a silver coffin inside, apparently very old. The coffin is taken away and during the plane ride to the United States, foolishly opened by one of the thieves. The act once again sets Dracula free, who, after being held captive for a century, awakens craving blood and attracted by the presence of another person who appears to be very much like him.
Produced by Bob and Harvey Weinstein and Wes Craven (here, precisely, in the role of executive producer) Patrick Lussier directs a watchable film in the first part, but mediocre in the second (moreover, really questionable and in very bad taste the original title "Dracula 2000"; even the one for our market is preferred: Dracula's legacy, the charm of evil"). "The Departure," while not original, could also reserve some cheap thrills, perhaps even have suspense and, even, for 10 min engage the viewer: thanks to a fairly brisk pace of action. Unfortunately, such involvement lasts only until the moment of the opening of the coffin; after that it goes to the worst. The setting of this first part, centered in the basement of Van Helsing's dwelling, turns out to be well thought out: ingenious death traps scattered in a sort of huge crypt (also noteworthy is the curious and obvious contrast between Van Helsing's old mansion, and the ultra-modern ones surrounding it). At this point, however, things start to go wrong, but not only for the protagonists, as much as for the viewers: the usual clichés, visions about vampires, flashbacks to Dracula's past; in essence the ABCD of unimaginative vampirism, begin. Dialogues at the limits of endurance begin (exemplifying the following: question addressed to Dracula: "...what does he drink?...coffee?...." Answer: "..I never drink....caffe!"...; and never mind the rest), and some scenes that would like to be comic but, instead, only end up being irritating (see the clash between Jonny Lee Miller and Omar Epps; or the sequence introducing Dracula's three brides; only the scene in which a Bible is shown to Dracula and he replies "..it's just propaganda!"...) is saved. The moment from which the story really becomes all too predictable is that of the first telepathic contact between Dracula and Van Helsing's daughter: we understand where the story is going to go and, therefore, any chance of some thrill or surprise disappears. Another negative element is the figure of Dracula: he lacks charisma. Gerard Butler is a good actor but here he performed well below his standards: almost listless and very unconvincing. The only character that can be saved a little is that of Van Helsing played by Christopher Plummer: serious and in part. On the road of negative elements we find the dubious choice of some misplaced and repetitive sequences: that of Solina's interrogation and that on the story of Dracula's "birth" are the least successful by far; the first one then even borders on the pathetic. Annoying is the continuous, excessive and obvious publicity for Virgin: impossible not to remember the scene in which Dracula stops in front of a giant blood-red Virgin sign. Further negative element is the explanation given to Dracula's birth: fanciful yes but far-fetched and, frankly, unsuccessful; only the attempt to invent something new can be saved. The ending then is the worst part of the whole film: rambling and and even peppered with choreographically ugly fights. A positive element, on the other hand, is the soundtrack, which deserves and not a little; it "pushes" great and includes some rather interesting songs: we recall "Bloodline" by Slayer; "Avoid the light" by Pantera; "Break you down" by M. Manson and Godhead; among the groups, Linkin Park and System of a Down are also notable. Another element in its favor is the acceptable number of deaths: all quite well done and some even bloody (interesting though a bit tacky and excessive are the tools used by Van Helsing and Jonny Lee Miller to hunt vampires; like crossbow throwing silver darts, which we will later see again in the more recent "Van Helsing").
Review of decker
