It's regularly hard to believe that Warcraft comes from the same director. In fact, no matter where you look, there's nothing on offer to show Jones' previous filmmaking nous evidenced in both Moon and, to a lesser extent, Source Code. Jones' handling of the different languages within the story is bewildering, at times having the orcs switch between their native tongue and English mid-sentence, apparently for the audience's benefit but in actual fact making matters far more complicated and jarring than they need to be.
When CGI fills the screen Warcraft's worlds feel cold and hollow when matters are focused upon live action, the costumes and settings have a cheapness the director simply cannot shake.Ĭonfusing execution elsewhere doesn't help matters either. From the outset, Jones never manages to lift the settings out of their obvious artificiality. Taken on its own merits as an action-fantasy film, Warcraft has enough problems rooted in its filmmaking fundamentals to push any considerations about how well the video game world has been recreated firmly to the back of the queue.
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Translations from computer screen to big screen have a considerably chequered past that has been well chronicled, and Duncan Jones' attempt to make the Warcraft series the latest pretender to the Lord Of The Rings crown unfortunately does little to change that. In an era of summer blockbusters dominated by comic book universe-building, it is a dubious honour for video game adaptation Warcraft: The Beginning to offer the most textbook example of all that mainstream franchise-based cinema is currently getting wrong.
'When CGI fills the screen Warcraft's worlds feel cold and hollow when matters are focused upon live action, the costumes and settings have a cheapness the director simply cannot shake'.
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