I’d like to make a disclosure going into this review that I have only ever observed the games, but never actually experienced the game play. All that is known by those who have never had the pleasure to play the 10 year old, 10 or so part, several main character game series, is that it’s based on factual historical timelines and the events that took place within those timelines, and coated with a layer of fictional icing made out of only imagined scientific organised chaos, where each faction is fighting an opposite cause for the future.

As a gamer, it’s realised that the Assassin’s Creed film runs parallel with the story of Ezio and Desmond. This is apparent with the mention of the Apple of Eden. Instead of Desmond, Michael Fassbender plays Callum Lynch (Cal), a recently executed, but resurrected murderer, whose ancestor from the year 1492, Aguilar is the key to retrieving the Apple. The plan is set by Sofia Rikkin (Marion Cotillard), the captain of the Animus, a genetic DNA machine and all that it controls. Her project will help her father, Alan Rikkin (Jeremy Irons), the face of the mastermind plan, find the Apple and therefore posses it’s power; the power to control violence. ‘The threat remains while free will exists,’ Sofia tells Cal. The Apple is ‘mans first disobedience’ and he who grasps hold of it, can control peace. The Knights Templers must confiscate it to govern freewill and choice, as they are the ones that run the cities with higher authority as support. But, the Brotherhood that are the Assassins, protect it for the good of all man and their freewill and choice, and the fact that the Apple has too much power for one person. They are seen as commoners by the hierarchy. Aguilar is the final known bearer of the Apple, and Alan uses his daughter’s project and wits to ‘trace the protectors of the Apple.’ Aguilar, and therefore Cal is the protector; an assassin.

This film was made keeping in mind those who have never heard of the series, while still keeping in touch with the fanatics, who would run riots had the creators not respected the ideas and imagination exhibited within the Creed mammoth world.

There is more to the film than the storyline itself. A feeling of excitement is demanding as Cal is hooked onto the Animus, and his memories projected for the room to see. When he finally enters into his ancestor’s memory, with drums a-tow, it’s exhilarating. It’s the tingling feeling of goosebumps that are experienced when Aguilar makes his first move; a signature assassin move – the air assassination.

The other signature maneuver, known best by those who live and breathe the franchise through their respected gaming consoles, is the syncrinsing, the distinct eagle whistle, and then the profound Leap of Faith. The assassin climbs the nearest, highest building, stretches his or her arms out to either side, then leaps into… mainly a wagon of hay (in the game).  It would not be an Assassin’s Creed movie without the Leap of Faith. There were three in total. That’s the good news. The bad news however, they were all incomplete to the dismay of all Creed fans. Like an excited dog whose ball is about to be thrown for fetching, tails are wagging eagerly as the hype leading up to the obvious big jump that is about to happen is mounting, only to have our figurative dog foot lay over our face in a little bit of disappointment because the ball was never really thrown. It would always cut into the next scene, or come into the present when the leaps should really be showcased in the past. It’s actually quite sad because leading up to the release I had come across a behind-the-scenes video of Fassbender’s stuntman who performed all the jumps. It was very impressive and remarkable to know that the Leap of Faith was done with no CGI (except for scenery and landing). Faithful to the fans, the iconic jumps were authentic.

In regards to film technique, I am not that mad with director, Justin Kurzel, though. The rush from past to present was well balanced, and not disturbing to view even when it took place in a single scene. There were well choreographed fighting scenes good enough for a dancefloor. Picturesque establishments made the scenes feel whole and pretty. The lack of parkour, also linked with the usual Assassin’s way of getting by, together with the stealth mode, was apparent but not so much of a bother.

It’s hard to remember it’s Fassbender under that hood as Aguilar. The X-Men actor truly embodies the character.
Cotillard has cemented herself into the type of actor who is the perfect candidate to play the sly and mysterious roles. She does it in Dark Knight Rises, too. The other roles in this film are present, but not as obvious as those of Fassbender and Cotillard. Besides the fact that they are our main protagonists, they steal the show away from any real underdog highlight. A single standout that came from a supporting role was from Maria (Ariane Labed). Her double-stab where she impales her enemy from behind while stabbing the one in front at the same time, is a still-picture dream.

Every part is important. New information is conveyed through every scene. Going to the bathroom halfway, like I did, was a big mistake. I do not recommend it. Don’t do it! You can hold it up until the last twenty (give or take) minutes where all that exciting, adrenaline-charged and irresistible build up and hysteria to the big finale reaches an overwhelming anticlimax. It feels unfinished and the viewer is left to feel as though they have had a hit of caffeine just before bed – restless.

It’s an incomplete film and I am desperate for the next part. There is a next part, right?

Assassin’s Creed will give that little bit of excitement to the loyal fans, and will create some new fans out of movie lovers with a somewhat easy introduction to understand. 3 and a half out of 5 is fair.