Blade: Trinity

Don’t believe stingy film reviewers; the third installment of the Blade trilogy is as edgy and sharp as the original.
Opening to almost universal disapproval, Blade: Trinity is actually a fast, dynamic film as good or better than any action film this year. Taking aim at a rather low genre and hitting its mark, the third Blade has the magic proportion found in all great action films: Fast pace, good fighting scenes, and lots of explosions. Like the earlier Blade films, Trinity also features plenty of neat gimmicky weapons and vehicles.
What more do you want from a movie based on a crime-fighting vampire half-breed?
Less a sequel in the true sense of the word than merely a chance to revisit the Blade character, Trinity kills off one of the franchise’s standing characters in the first 15 minutes of the film. The police step in to hunt Blade (Wesley Snipes) after he is set up and filmed while accidentally killing a human. A late-night swat attack of the compound finds Blade and Whistler (Kris Kristofferson) unaware and the half-breed’s longtime mentor is killed in the ensuing gunfight.
Alone and facing both human law enforcement agencies and the dark vampire army, Blade slinks into a depression and allows himself to be taken into custody. Once at the police station, he discovers that the conspiracy runs deeper than he suspected and many of the human police officers are actually “familiars,” or vampire accomplices.
A crew of bloodsuckers arrive to finish the job, led by Danica Talos (Parker Posey), a sinister and sexy dominatrix vamp. They’re thwarted by a rescue squad made up of Hannibal King (Ryan Reynolds), an ex-vampire, and Whistler’s daughter, Abigail (Jessica Biel) – a group calling itself the Nightstalkers.
Back at the Scooby hideout, Blade is introduced to the rest of the Nightstalkers. The group of 20-somethings seem to have a goofy name for every weapon they own and King, in particular, can’t seem to get into the spirit of the dark enterprise. Blade glowers at King as the younger man rattle on like a poster child for Attention Deficit Disorder.
“Amateurs,” Blade snorts.
A lot of the chemistry in the film is between this younger generation of vampire slayers – who listen to MP3 players while hunting, work as a orchestrated team, and can’t seem to stay serious – and Blade, the quintessential loner. Blade is a Gen-Xer, a survivor and an outsider, and this new, younger group of hunters challenges his notion that the world is essentially unfair and we are ultimately alone.
Blade and the Nighstalkers work together when they discover that the Danica and her underlings have resurrected the original vampire, a creature that was born perfect, in order to harvest its blood to improve the race. Drake (Dominic Purcell) is a shape-shifting vampire who is less blood thirsty than just thirsty for blood, if that makes sense. In a world of craven dark shadows, Drake seems almost civilized and honorable.
The film suggests a clash between evolution and eugenics. Drake is the perfect vampire, a creature so pure and uncontaminated by breeding that he is almost a god. Blade is an evolution of the species, combining the best parts of the human and vampire races. Both are “day-walkers,” and their inevitable final fight is in some ways a debate on the meaning of race.
The look of Trinity is very dark and distopian, but Blade has never been a horror franchise and the movie is never frightening. The film combines science and the supernatural until they are nearly indistinguishable. The Nightstalkers and Blade get to use a lot of gee-wiz equipment – including bows with explosive broad heads – and the film is wonderfully post-modern, showing the gray area where styles combine, collide and cancel out each other.  
Snipes is at least as good in this role as Schwarzenegger was in the last Terminator film. Blade is kick-ass cool of the highest order, a man hiding behind dark glasses even at night, and Snipes plays the character with opaqueness and understated humor. The interactions between the self-consciously gloomy half-breed and flippant, carefree youngsters are precious, and underscores the generational gap between the characters.
The film’s pace is spot on, and writer David S. Goyer doesn’t toss a ubiquitous love story into the mix or muddle the film with too much thinking, which is a good thing.
Criticizing Trinity because it isn’t deep is like taking pot shots at Closer because it isn’t a heartwarming comedy or dissing the Pirates of the Caribbean because it isn’t historically accurate.
Don’t believe the negative hype. Blade: Trinity doesn’t suck.


Add comment

Security code

Want another opinion? Roger Ebert is one of my favorite reviewers and a personal hero.

Interested in hearing more? Download the eBook bound to change your life for $2.50 by clicking here!

Buy Now