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Wrath of the Titans: Bland Action Sequel
Hades (Fiennes) and Ares (Ramirez) have conspired to kidnap Zeus (Neeson) and use his power to break Kronos, king of the titans and father of Hades, Zeus and Poseidon (Huston), out of Tartarus, where his three sons had imprisoned him after they overthrew him. Only Perseus (Worthington), Zeus’ demigod son, can avert this calamity and save the world. Accompanied by Queen Andromeda (Pike) and Poseidon’s demigod son Agenor (Kebbell), the trio try to find a way to free Zeus from the underworld so he can help them in the fight against Kronos.
The film’s plot fulfils only one purpose: to connect the various fights and battle scenes together. Seriously, don’t question anything or you’ll uncover a ton of gaping plot holes. And while these fights are initially pretty cool, after Perseus has fought a chimera, Cyclops and a Minotaur, you start to get kind of bored and then there are still battles with Hades and Ares and Kronos to sit through. And while the fights /mythical creatures look good, there’s nothing particularly exceptional about them that’ll hold your attention for the entire film.
The film looks blandly pretty in a sand-strewn kind of way. Everything looks good but nothing stands out or grabs your attention. These swords and sandals flicks are a dime a dozen and after last year’s Immortals, the bar has been raised tremendously on eye popping visuals. Unoriginality seems to be a common thread here because the 3D is absolutely wasted. It’s mainly used only to chuck a bunch of rocks at the audience. There are some scenes that are pretty eye popping though. Perseus, Andromeda and Agenor trying to navigate their way through a labyrinth to get to Kronos comes to mind. The labyrinth’s walls shift, tilt and rearrange themselves while the trio try to get through it before they’re squeezed to a bloody pulp or tossed off the edge.
The most surprising thing about the film is how it’s filled with heavyweight actors who are barely recognisable. Both Fiennes and Nighy were unrecognisable under their costumes and wigs. But the problem wasn’t just in their appearance. These two actors who are usually pretty electric just weren’t even trying. And it wasn’t just them either. Worthington continues his quest to blend into the background of every film he’s in and Neeson sleepwalks through his dignified, wise man shtick.
Wrath of the Titans can be summed up in three words: beige, bland, and forgettable.
Wally Pfister’s directorial debut – a slow and relatively complicated take on the world of artificial intelligence – falls short of the type of thrill needed to push Transcendence into the major leagues of sci-fi.
Written by a fellow first-timer, Jack Peglan, Transcendence lends its focus to Will Caster (Depp); a prominent leader of the artificial intelligence research who, along with wife Evelyn (Hall) and fellow researcher Max (Bettany), hopes that computers will one day be able to think for themselves and, inevitably, replace humans and the ill-intentioned ways of mankind.
However, Will’s radical way of thinking soon makes him a target for an underground anti-tech terrorist group led by Bree (Mara), who decide to take out the A.I pioneer by shooting him with a radioactive bullet, leaving him to die a slow and a painful death.
Not prepared to let go of her husband just yet, Evelyn reaches out to Max and manages to convince him that the only way they can keep Will and his work alive is to download his brain – and consciousness – into the system, before his body completely deteriorates.
The experiment is a success, but the new computerised version of Will is not the same man they all once knew, but a cold mechanical shell obsessed with accumulating both knowledge and power. With the help of a renowned computer scientist, Joseph Tagger (Freeman,) and FBI agent Buchanan (Murphy), Max begins to look for ways to put an end to Will, while Evelyn, desperate to hold on to the man she once loved, is hesitant to let go.
Pfister, a long-time Chris Nolan collaborator who served as cinematographer for most of his productions, definitely knows how to work the camera and manages to paint Transcendence with a crisp, pallid polish. Everything from the special effects to the choice of framing looks absolutely superb. However, its steely façade doesn’t make up for the shallowness of the story, which goes from confusing to downright ridiculous pretty early on.
In terms of the performances, the cast struggles with their underwritten roles and, consequently, feel utterly disengaged from the story altogether. Showing off a more subdued side, Depp is relatively passive and indifferent in his performance of a man who quickly loses sight of what’s right and wrong as he begins living in his own creation. Freeman and the rest of the supporting cast are underused, while Hall – as Depp’s despairing onscreen wife – is left with little to build with on the emotional side of the story.
In the end, Transcendence flatters to deceive; from the lack of onscreen chemistry and character development to the absurdity which the story quickly escalates to, this latest wannabe sci-fi blockbuster – although pretty to look at – is just a little too dull to stand with the big boys – so to speak.
Tinker Bell, who made her first appearance in 1953’s animated picture Peter Pan, returns in the fifth installation of her popular Tinker Bell franchise, The Pirate Fairy; an infectious and thoroughly charming story of friendship and sisterhood.
Directed by Peggy Holmes, The Pirate Fairy follows the adventures of Tinker Bell – a.k.a Tink – (voiced by Whitman) and her five fairy friends; the Garden Fairy, Rosetta (Hilty), water fairy, Silvermist (Liu), light fairy, Iridessa (Raven-Seymone), wind fairy, Vidia (Adlon) and finally, animal fairy, Fawn (Bartys).
The girls live in Pixie Hollow; a magical fairy community where everyone has been given a duty based on the talent revealed to them at birth. Life is seemingly peaceful for the five friends but trouble soon comes knocking when Zarina (Hendricks), the new fairy in charge of the production of fairy dust, decides to perform a forbidden experiment with the rare Blue Dixie Dust – an important ingredient used to make the fairy’s gold-blue dust powder – resulting in a near-catastrophe at the lab.
Relieved of her position as the Dust Keeper, Zarina flees Pixie Hollow, only to return a year later for the Dixie Dust. It’s now up to Tink and her friends to pursue Zarina, who they soon learn has become the captain of a pirate ship, and convince her to return to where she truly belongs; in Pixie Hollow. However, Zarina’s new friend, James (Hiddleston), a pretend-cabin boy has other plans for the fairies and the fate of Pixie Hollow altogether.
Serving as a prequel to Peter Pan’s 2002’s Return to Never Land, The Pirate Fairy will please fans of the franchise, who will be happy to see their favourite fairy – and her devoted group of followers – return with their peace-loving ways. It’s a simple story with just enough colour and vibrancy to keep things moving along. Although its animations and overall technical quality is nowhere near the likes of Pixar productions, for example, the story is strong enough to compensate for its drawbacks.
Whitman, who has been with the franchise since the beginning, returns as Tinker Bell and once again shines as the determined and lovable leader of the fairies. However, it’s Hendricks – popular for her role as Joan Harris of the TV’s Mad Men – who steals the show as the feisty and the often misunderstood Zarina who manages to get herself mixed up with the wrong crowd.
Similarly, Hiddleston – better known for his portrayal of Thor’s evil brother, Loki – is superb and deliciously devious as cabin boy James whose destiny as Captain Hook is yet to be fulfilled.
Ultimately, The Pirate Fairy is a story about friendship and understanding. It may not be as big or majestic as Disney’s last outing, Frozen, but it’s still engaging enough to stand on its own feet.