I Am Legend (2007)

Richard Matheson's 1954 novel "I Am Legend" had already been adapted twice before Francis Lawrence brought it to the screen, first as "The Last Man on Earth" (1964) with Vincent Price, then as "The Omega Man" (1971) with Charlton Heston. Lawrence, best known at the time for music videos and the modestly received "Constantine" (2005), took on a significantly larger canvas here, with a $150 million budget that went largely towards the genuinely remarkable feat of emptying out New York City for production. Much of that footage, particularly the deserted Midtown sequences, was shot on location during restricted early-morning windows. Will Smith, already one of Hollywood's most reliable box office draws through the late 1990s and 2000s, carried almost the entire first act alone, with his German Shepherd the only consistent co-presence on screen.

I Am Legend (2007) starts with a strong, haunting premise. A near-empty New York City, overrun by darkness and disease, where Dr. Robert Neville (Will Smith) is seemingly the last man alive. For stretches, it works: the silence of Times Square overgrown with weeds, Smith’s solitary routines, his bond with his dog Sam, these moments are eerie, powerful, and beautifully shot. Smith carries the film with dedication, delivering a performance that swings between clinical focus and raw loneliness, and for a while, you’re pulled into his reality. But then the cracks appear. The infected “Darkseekers” look more like CGI ghouls than believable creatures, their movements too fast, too exaggerated, robbing them of true horror. The action scenes trade suspense for jump scares and chaotic chases that feel more generic than terrifying. And the ending was a huge misstep. The theatrical cut wraps up with a rushed, underwhelming climax that abandons the isolation and psychological depth that made the first two acts compelling. It turns a potential tragedy into forgettable action, robbing the story of its weight. There’s ambition here, exploring grief, survival, and what it means to be human, but it never fully lands. It wants to be The Omega Man meets 28 Days Later, but ends up feeling like a glossy blockbuster afraid of its own darkness. Strong atmosphere, solid lead performance, but let down by weak effects, inconsistent tone, and an ending that betrays the film’s best ideas. Not bad, not great. Just… average.

Rating: ★★½  | Year: 2007  | Watched: 2025-10-15

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