The dethroning game of a legend of European culture

This review begins where we put last week the full stop in the text about In working man. In that case, the ability to avoid parody while working with clichés that border on the ridiculous was commendable. The same criterion could be applied to William Tell, if it weren't for one fundamental difference: in David Ayer and Jason Statham's film there is no irony, but there is joy and conviction when it comes to splashing around in outdated codes. On the other hand, Nick Hamm believes it appropriate to imbue the reinterpretation of the legend of the Swiss hero who defied the tyrannical reign of the Habsburgs with a lapidary seriousness, into an epic film with spectacular landscapes. However, this gesture seems forced, since there is not a single image that does not seem to come from another film or, directly, from a template, including the most iconic passage of the story, in which the protagonist must shoot an arrow at an apple placed on his son's head. Hamm has described his work as "a cinema that is no longer made," surely thinking of the great Hollywood adventures, although the reality of William Tell is closer to the impersonality of productions europudding (here, with mostly Italian and British capital and a protagonist, Claes Bang, with a Danish passport) and television professionalism, closely following the mold of Game of Thunder, both in terms of the propensity to cut off limbs and the attempt to plant cliffhangers that announce sequels that hardly anyone in the audience will ask for.

This review begins where we put last week . In that case, the ability to avoid parody while working with clichés that border on the ridiculous was commendable. The same criterion could be applied to , if it weren't for one fundamental difference: in David Ayer and Jason Statham's film there is no irony, but there is joy and conviction when it comes to splashing around in outdated codes.

On the other hand, Nick Hamm believes it appropriate to imbue the reinterpretation of the legend of the Swiss hero who defied the tyrannical reign of the Habsburgs with a lapidary seriousness, into an epic film with spectacular landscapes. However, this gesture seems forced, since there is not a single image that does not seem to come from another film or, directly, from a template, including the most iconic passage of the story, in which the protagonist must shoot an arrow at an apple placed on his son's head. Hamm has described his work as "a cinema that is no longer made," surely thinking of the great Hollywood adventures, although the reality of is closer to the impersonality of productions (here, with mostly Italian and British capital and a protagonist, Claes Bang, with a Danish passport) and television professionalism, closely following the mold of , both in terms of the propensity to cut off limbs and the attempt to plant that announce sequels that hardly anyone in the audience will ask for.

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