The anti-hero Riddick, subject of three movies, an animated short, and numerous video games, is probably best suited to animated shorts and video games. I haven’t played the games, but I did enjoy Dark Fury, the 35-minute Peter Chung toon that served as a bridge between 2000’s Pitch Black and 2004’s The Chronicles of Riddick. Like Conan the barbarian, Riddick is a surly loner and killer who gets pulled into adventures wherever he travels. As played by Vin Diesel, Riddick is also a cold cod whose purpose in life seems to be avoidance. He’s always being pursued — by mercenaries, by Necromongers, by slithery creatures. His function is to send his pursuers abruptly to the next life and then swagger onward. Such a character might fare nicely on a weekly animated series for young adults (or in a monthly comic book, where Conan has thrived on and off for decades), but he doesn’t hold a live-action film together very strongly.
The title of Riddick’s new adventure, just straight-up Riddick, is likely meant to signify a new simplicity, or, rather, a throwback to the old simplicity of Pitch Black. After all, The Chronicles of Riddick was a cluttered and garish thing, with respected actors like poor Judi Dench nattering on about Necromongers or the Underverse while Vin Diesel scowled in the shadows, his silver corneae glowing like the eyes of a sullen cat. Riddick dispenses with the reheated fantasy elements of its predecessor and takes Riddick back to gritty sci-fi, pitting him against phallic, venomous critters and then against two competing bands of mercenaries. Along the way he raises a dingo-like puppy, and if you remember what generally happens to people or animals Riddick grows to care about, you’ll know not to get attached to the dingo-like puppy.
Riddick is leaner and meaner than Chronicles, but that doesn’t necessarily translate as “more fun.” Once again, as in Pitch Black, Riddick defends himself — and, incidentally, the motley group he happens to be thrown in with — from monsters. It feels pointless; by the end, Riddick is better off than he was at the start, but nothing in particular has happened to change his character. He’s the same growly deep-bass sociopath he was in Pitch Black thirteen years ago. At least in Dark Fury and Chronicles he had an androgynous girl, grown up to be a bitter woman warrior, to care about and to worry that she might end up like him. Riddick seems like a side adventure, and the events of the previous movie are blown off in a flashback that puts Riddick back at square one. We feel like idiots for having been asked to invest in the events of Chronicles and in the idea that Riddick had been elevated to a position of importance.
Diesel and series creator/director David Twohy were adamant that Riddick, like Pitch Black, carry an R rating, which allows for a bit of gore and a peekaboo scene that’s so baldly there for fans of Battlestar Galactica’s Katee Sackhoff that all I could think about was Big Bang Theory’s Howard Wolowitz (who fantasized about tubbing with Sackhoff in an episode) wearing out the Blu-ray when it arrived at his home. Sackhoff plays a nerdboy’s idea of a lesbian, a tough chick who beats the crap out of men; her name is Dahl, which phonetically means every guy in the movie appears to be calling her “doll,” and that’s essentially what she is. Aside from Riddick — who spends much of the middle third of the film ominously offscreen — the character who gets the most screen time is Santana (Jordi Molla), the scruffy leader of one of the merc teams. Santana is a dick but at least has some personality; nobody else does.
Vin Diesel, an unabashed fantasy/sci-fi geek, keeps trying to make genre franchises happen. Babylon AD didn’t work for him, and the Riddick series has proceeded in fits and starts — it’s been nearly a decade since the last film, and Diesel, who turned 46 this summer, is very much not getting any younger. He puts a lot of physical effort into these meathead movies he does (Furious 6, for the record, was much more fun), and there’s a valid question as to how much longer he can continue to do so. Diesel started off promisingly — I urge you to seek out his 1994 short film Multi-Facial on YouTube so you won’t think I’m insane when I say he’s really a good actor — but he got sidetracked into dumb Saturday-night blockbusters for teens, and he perhaps needs to stop working out (and stop listening to his agent) and do some genuine acting again. Riddick, which by all indications will be a box-office disappointment, may put the kibosh on at least one going concern that has kept Diesel in lucrative stasis.