(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last three paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Blade, now a wanted man by the FBI, must join forces with the Nightstalkers to face his most challenging enemy yet: Dracula.”
I’ve read that Blade 3 – aka Blade: Trinity – was a ‘troubled’ production for a good number of reasons. Some of the behind-the-scenes activity clearly boiled over into smaller on-screen moments – what with so many character relationships being grounded on antagonism in the first place – and egos being what they are especially in Hollywood probably turned what could’ve been a no-brainer into something requiring vastly more energy. The central truth remains that it’s a flawed conclusion to one of comic books otherwise better trilogies, and fans most definitely deserved better than this rather dour and disappointing close-out to the Daywalker saga.
What’s even a bit more odd to the flick’s failure is the fact that all three screenplays are attacked to the otherwise reliable David S. Goyer, the man who stepped in to helm Trinity, allegedly hoping that the elevation from screenwriter to director would do wonders for his career. (I’ve read this agreement was already signed, sealed, and delivered prior to Blade II even hitting screens.) Certainly, no person knew Blade any better than he did, so one would think the transition from writer to something more managerial would’ve been smooth sailing. Alas, it wasn’t … and then some. A great deal of the reported difficulty on-set and beyond seems to be linked directly to screen veteran Snipes – who had already established a reputation of being difficult to work with – so suffice it to say Trinity probably served as the nail in that franchise’s coffin, a somewhat death that Marvel Entertainment hasn’t been able to correct to this day.
In any event …
From the film’s IMDB.com page citation:
“Blade, now a wanted man by the FBI, must join forces with the Nightstalkers to face his most challenging enemy yet: Dracula.”
I’ve read that Blade 3 – aka Blade: Trinity – was a ‘troubled’ production for a good number of reasons. Some of the behind-the-scenes activity clearly boiled over into smaller on-screen moments – what with so many character relationships being grounded on antagonism in the first place – and egos being what they are especially in Hollywood probably turned what could’ve been a no-brainer into something requiring vastly more energy. The central truth remains that it’s a flawed conclusion to one of comic books otherwise better trilogies, and fans most definitely deserved better than this rather dour and disappointing close-out to the Daywalker saga.
What’s even a bit more odd to the flick’s failure is the fact that all three screenplays are attacked to the otherwise reliable David S. Goyer, the man who stepped in to helm Trinity, allegedly hoping that the elevation from screenwriter to director would do wonders for his career. (I’ve read this agreement was already signed, sealed, and delivered prior to Blade II even hitting screens.) Certainly, no person knew Blade any better than he did, so one would think the transition from writer to something more managerial would’ve been smooth sailing. Alas, it wasn’t … and then some. A great deal of the reported difficulty on-set and beyond seems to be linked directly to screen veteran Snipes – who had already established a reputation of being difficult to work with – so suffice it to say Trinity probably served as the nail in that franchise’s coffin, a somewhat death that Marvel Entertainment hasn’t been able to correct to this day.
In any event …
Times have turned tough for the Daywalker (played by Snipes) as some shadowy enterprise has convinced the Federal Bureau of Investigation to remove Blade from the vampire hunting business altogether. A federal raid is successful in destroying the man’s compound, killing his friend and mentor Abraham Whistler (Kris Kristofferson), and delivering a fatal epiphany. With no other choice, Blade surrenders into federal custody only to find himself broken free by the Nightstalkers, a band of hip and young hunters lead by Whistler’s daughter Abigail (Jessica Biel) and Hannibal King (Ryan Reynolds). The group is keenly aware that an elite group of vampires have managed to find and resurrect Drake aka Dracula (Dominic Purcell) – the first vampire – in their bid to use Dracula’s DNA to purge any and weaknesses from their own systems and, thus, rule the planet in the sunlight.
So, narratively, Trinity certainly set the table with a pretty inviting meal.
Goyer’s script arguably brought the level of ambition to raise the stakes for a third showdown, expanding even upon the players in the Blade universe in creative ways. Biel embodies the tough chip-on-her-shoulder daughter who is bent upon proving her modern ways of hunting vampires is a suitable replacement for her dead father’s, and Reynolds – seemingly stuck in his ‘Petulant Phase’ of acting – delivered some macho snark at every opportunity, perhaps robbing Snipes’ central character of his need to do so in the earlier outings. Anyone who suggests that there’s no chemistry between the three really wasn’t paying attention – there clearly is undeniable tension, and for what it’s worth that pressure was a needed component to this triad – but I’ll concede that the script could’ve used a few ‘attaboy’ or ‘attagirl’ moments to lighten the load.
Where I personally thought Trinity struggled was in becoming an ensemble, one fairly evenly stacked between its good guys and bad.
When you morph from a mostly standalone hero franchise into a small(ish) Avengers-style line-up (which Trinity most definitely tried to do), the narrative waters naturally get a little muddied. With more characters, there’s more backstory. With more faces, there’s more dialogue. With a few more places set at the proverbial table, there characteristically has to be more plot – more for these folks to do – and that isn’t handled with any deftness here. In fact, things are resoundingly awkward at the Nightstalkers compound in that there’s all these people, and none of them really have anything to do. Mind you, each gets an explanation; but there’s no suitable follow-up to show what special skills and abilities they bring to the table in times of crisis. Largely, the audience is told, and we’re expected to accept it so that Blade and his two big co-stars can get back down to business. A smarter script would’ve cut back on a few add-ons who, frankly, brought nothing but inevitable victimhood to the table.
So, narratively, Trinity certainly set the table with a pretty inviting meal.
Goyer’s script arguably brought the level of ambition to raise the stakes for a third showdown, expanding even upon the players in the Blade universe in creative ways. Biel embodies the tough chip-on-her-shoulder daughter who is bent upon proving her modern ways of hunting vampires is a suitable replacement for her dead father’s, and Reynolds – seemingly stuck in his ‘Petulant Phase’ of acting – delivered some macho snark at every opportunity, perhaps robbing Snipes’ central character of his need to do so in the earlier outings. Anyone who suggests that there’s no chemistry between the three really wasn’t paying attention – there clearly is undeniable tension, and for what it’s worth that pressure was a needed component to this triad – but I’ll concede that the script could’ve used a few ‘attaboy’ or ‘attagirl’ moments to lighten the load.
Where I personally thought Trinity struggled was in becoming an ensemble, one fairly evenly stacked between its good guys and bad.
When you morph from a mostly standalone hero franchise into a small(ish) Avengers-style line-up (which Trinity most definitely tried to do), the narrative waters naturally get a little muddied. With more characters, there’s more backstory. With more faces, there’s more dialogue. With a few more places set at the proverbial table, there characteristically has to be more plot – more for these folks to do – and that isn’t handled with any deftness here. In fact, things are resoundingly awkward at the Nightstalkers compound in that there’s all these people, and none of them really have anything to do. Mind you, each gets an explanation; but there’s no suitable follow-up to show what special skills and abilities they bring to the table in times of crisis. Largely, the audience is told, and we’re expected to accept it so that Blade and his two big co-stars can get back down to business. A smarter script would’ve cut back on a few add-ons who, frankly, brought nothing but inevitable victimhood to the table.
Furthermore, Drake never really amounted to much of a central villain. This omnipotent overlord had a litany of powers – i.e. invulnerability, immortality, shape-changing skills, etc. – get talked about and then given a bit of screen time only in small ways. Because these nifty upgrades meant so much to leader Danica Talos’ agenda (Parker Posey), I expected them to get showcased more often than they did in Goyer’s script. Instead, they were largely laid out like teases for the bloodsuckers – something to amp up their thirst for a chance to inherit them – and their impact was negligible. It’s sad because such an assortment of clever aids could’ve truly increased the paranoia Blade and his fellow hunters might have to live with or work-around, but they’re mostly left to predictable plot twists and nothing more.
Of course, there are plenty of other reasons why Trinity just didn’t work, certainly not as well as the earlier installments. The fact that the film’s big showdown feels like nothing more than a creative rehash of Blade II likely didn’t sit well with most fans; and given the reality that the film’s voiceover done by Reynolds kinda/sorta even implies structurally that it really wasn’t Blade’s story anyway I suspect those who came in expecting big things from the Daywalker were more than a bit disenfranchised.
Blade: Trinity (2004) was produced by New Line Cinema, Shawn Danielle Productions Ltd., Amen Ra Films, Marvel Enterprises, Peter Frankfurt Productions, and Imaginary Forces. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can assure you that the provided sights-and-sounds are very good: there are a few effects that don’t work as well as they could’ve, but nothing impedes the pace of the flick. Lastly, if you’re looking for special features? The disc boasts a great assortment of content – including multiple commentary tracks – so there is definitely something in here for everyone.
Alas … only Mildly Recommended.
Perhaps the third time isn’t always the charm as Blade: Trinity (2004) – while occasionally interesting – instead plays out in fits and starts, never quite getting anywhere near the magical fluidity of the trilogy’s first two installments. Snipes always seems agitated, Biel seems a bit aloof, and Reynolds is constantly cracking wise. The lack of cohesion kept me wondering just whose story is this anyway; and – come the big finish – I really didn’t give a damn to see so predictable a central baddie get summarily extinguished because such an ending was never really in doubt. Blade deserved better – as did his fans – but this remains all they got.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary DVD of Blade: Trinity (2004) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Of course, there are plenty of other reasons why Trinity just didn’t work, certainly not as well as the earlier installments. The fact that the film’s big showdown feels like nothing more than a creative rehash of Blade II likely didn’t sit well with most fans; and given the reality that the film’s voiceover done by Reynolds kinda/sorta even implies structurally that it really wasn’t Blade’s story anyway I suspect those who came in expecting big things from the Daywalker were more than a bit disenfranchised.
Blade: Trinity (2004) was produced by New Line Cinema, Shawn Danielle Productions Ltd., Amen Ra Films, Marvel Enterprises, Peter Frankfurt Productions, and Imaginary Forces. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can assure you that the provided sights-and-sounds are very good: there are a few effects that don’t work as well as they could’ve, but nothing impedes the pace of the flick. Lastly, if you’re looking for special features? The disc boasts a great assortment of content – including multiple commentary tracks – so there is definitely something in here for everyone.
Alas … only Mildly Recommended.
Perhaps the third time isn’t always the charm as Blade: Trinity (2004) – while occasionally interesting – instead plays out in fits and starts, never quite getting anywhere near the magical fluidity of the trilogy’s first two installments. Snipes always seems agitated, Biel seems a bit aloof, and Reynolds is constantly cracking wise. The lack of cohesion kept me wondering just whose story is this anyway; and – come the big finish – I really didn’t give a damn to see so predictable a central baddie get summarily extinguished because such an ending was never really in doubt. Blade deserved better – as did his fans – but this remains all they got.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive provided me with a complimentary DVD of Blade: Trinity (2004) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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