By Jay Hunter A lot rested on Assassin’s Creed, not least of all from eager video game fans finally getting their chance to see a worthy adaptation to the big screen. With a full-blood cast and crew including Justin Kurzel (Macbeth), Academy Award winning actress Marion Cotillard an Hollywood megastar Michael Fassbender all on board, expectations were loftier than most. Whilst the movie does it’s best to effortlessly trapeze the rooftops of 14th century Spain, it often loses it’s footing.

Following the story of prisoner Callum Lynch (Fassbender), who with the help of advanced technology known as the animus, delves into his lineage. Discovering he is descended from a secret society known only as the Assassins, Lynch must search for the knowledge and skills in order to take on the Templar organisation in the present day.

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Straight away, Creed’s problems are evident. A piece that is to be endured rather than enjoyed, the movie makes a pigs ear of blending cold-ore sci-fi and debonair historic adventure. It must be said that the admittedly brilliant cast are wasted as they fumble around in the dark for a McGuffin so unsubtle it would make The Matrix of Leadership from Transformers 2 scoff.

Everyone on screen is desperately searching for an ancient and sacred objet d’art that may or may not contain within its core the genetic coding to human decision-making processes, especially those connected to the use of physical force and the potential for violence in the face of authority, allowing the eventual possessor of said object the ability to curb antisocial behaviour on a mass scale.

Corybantic action and set pieces save a thin plot and even thinner characters running blindly through an attractive looking world. Serving as a microcosm of yesteryear videogames, Assassins Creed spends two hours and twenty minutes with characters running into rooms and finding an object so they run into the next.

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