Film Review: The Scorpion King: Book of Souls (2018)
The Scorpion King franchise shows the endurance of the period action adventure genre, launching in 2002 with a modest production that nevertheless managed to capture the imagination of audiences looking for swashbuckling adventure in the ancient world. Over the course of a decade and a half, the series has gone through the tricky waters of diminishing returns and budget constraints with a surprising degree of creativity. Despite significantly lower budgets and consequent ambitions than its blockbuster predecessor, each of the four direct-to-video sequels has managed to look visually distinct from the last, evolving stylistically to suit its specific narrative context. This evolution is most pronounced in the series finale, 2018’s The Scorpion King: Book of Souls, which serves as a distinct capstone to the saga, embracing a darker, more serious tone that sets it apart from the more campy elements of its origins.
Throughout its lifespan, the series has undergone substantial changes, not merely in terms of narrative direction but also through the practical realities of production. Sometimes these changes have involved shifting the geographical setting, while others have necessitated the recasting of the title character. The mantle of the Scorpion King has been worn by several actors, and the last to inhabit the role of Matthayus is Zach MacGowan. MacGowan, best known for his iconic role as Charles Vane in the television series Black Sails, represents more than a successful replacement for Victor Webster, the previous incumbent. He brings a gravitas and a particular rough-hewn charm to the character that feels both familiar and fresh. The film opens with a Mathayus who is no longer the famous Akkadian warrior and king of old. Instead, he is attempting to forge a new, much simpler life as a humble blacksmith, a stark contrast to the mercenary lifestyle that defined his earlier appearances.
The plot, narrated by Peter Jessop—an actor who made his name through his work in major video games such as Skyrim and Fallout 4—begins with a prologue set centuries earlier. This establishes the mythological foundations of the conflict. In the distant past, the ancient Egyptian king Memtep entered into a pact with Anubis, the god of the underworld. As part of this sinister bargain, Memtep had the Fang of Anubis forged, a sword of immense power that possesses the unique ability to capture the souls of anyone killed by it. The sword grants enormous power to its wielder, and this is precisely why the evil warlord Nebserek, played with a menacing presence by Peter Mensah, obtains the weapon and unleashes it upon the world in a campaign of conquest.
Nebserek’s ruthless hordes soon descend upon Mathayus’ village, bringing chaos and destruction in their wake. The attack results in personal tragedy: his son is killed, and the former king is captured and imprisoned. However, Mathayus is not left to his fate. He is rescued by Tala (Pearl Thusi), a Nubian warrior princess and the daughter of Mathayus’ old friend Balthazar. Tala implores Mathayus to help her free her land from the clutches of Nebserek. The only way to defeat the warlord is to somehow destroy the Fang of Anubis, but the key to this lies within the Book of Souls, an ancient artefact apparently kept in a crypt in a distant temple. When Mathayus and Tala eventually reach their destination, they make a shocking discovery: the Book of Souls is actually Amina (Katy Louise Saunders). She is a princess whose skin bears the words of the book, which are readable only by magical moonlight. She has spent centuries in the temple, protected by a giant golem named Enkidu (Nathan Jones).
Directed by Don Michael Paul, a filmmaker who is a former actor specialised in making direct-to-video sequels to mainstream action or horror films, Book of Souls is surprisingly good. This is especially so when it is compared to its three previous direct-to-video predecessors in the franchise. Where many similar low-budget productions rely on cheap visual effects and rapid-fire editing to cover up their deficiencies, Paul manages to maintain a level of cinematic competence that elevates the material. The film is, much like the second instalment, Rise of the Warrior, shot on locations in South Africa. However, Don Michael Paul makes much better use of these natural backdrops, placing a heavy emphasis on the stark, white sands and creating a visual aesthetic that is refreshingly different and more grounded than its predecessors.
Zach MacGowan’s performance is the backbone of the film. He offers a good combination of physicality and actual acting talent that allows him to carry the weight of the franchise on his shoulders. While the action scenes are sometimes sloppily directed, with camera work that lacks precision, they generally work in the context of the genre. The plot is relatively simple, reduced to a typical heroic quest without much in the way of complex twists or subversion of expectations, until its melodramatic finale. The scenes that take place within the temple are the film's highlight, and the concept of having the book imprinted on the skin serves as a credible excuse for Katy Louise Saunders to appear on screen with as little clothing as possible, blending practical effects with a nod to the genre’s objectification.
The supporting cast delivers strong performances that anchor the fantasy elements. South African actress Pearl Thusi, whose character represents the strongest continuity link to the first film—where her father was played by the late, great Michael Clarke Duncan—is excellent in the role of the warrior princess, bringing a necessary fire and determination to the narrative. Similarly, Katy Louise Saunders provides just enough vulnerability and tragedy to make Amina a compelling character rather than just a plot device. Nathan Jones, despite being buried under a mountain of makeup as the Golem Enkidu, is effective as a sort of comic relief that compensates for the generally dark tone of the film, adding a layer of physical comedy that lightens the mood.
Peter Mensah is slightly one-note as a villain, his performance being largely defined by a gruff, imposing demeanour that borders on caricature. However, he is helped significantly by two actresses who play his henchwomen. Inge Beckmann portrays Nebserek’s priestess and lover Mennofer, bringing a sultry intensity to the role, while Maylin Ng plays Khensa, Nebserek’s warrior, providing a formidable physical presence that commands respect in the fight sequences.
While there were certainly moments marred by uninspired dialogue and some clunky exposition, Book of Souls holds together pretty well, at least for the audience that likes a combination of fantasy and "sword and sandals" genre and those who had their expectations lowered by the franchise's budgetary history. It was certainly a better way to end a film series than many of its direct-to-video counterparts, offering a satisfying, if traditional, conclusion to Matthayus' story.
RATING: 6/10 (++)
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Dear @drax !
The Scorpion King franchise was nothing more than a poor imitation of Conan the Barbarian!