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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.
Based on the memoirs of a real-life U.S Navy SEAL, American Sniper is a vivid and intense story of a sniper who became renowned for the one-hundred and sixty confirmed kills obtained during his four tours in Iraq.
The story is centred on the Texan born and bred patriot, Chris Kyle (Cooper); a rodeo-loving, farm-boy who has been raised with a firm belief in moral justice. After watching the harrowing events of the bombings of the U.S embassies in Eastern Africa, Chris decides to join the Navy SEALS, as a way of offering his support and undying service to the country that he loves.
Shortly after, he meets Taya (Miller); a girl who has vowed never to date a marine but goes ahead and does just that. It’s not long before they decide to marry and raise a family; however, after yet another attack on America – and this time on its own soil on September 11, 2001 –Chris is deployed to serve his country in Iraq.
It is there that he earns the title of ‘The Legend’ – thanks to his sharp eye and incredible precision – soon becoming one of the most proficient snipers in U.S military history. However, his so-called ‘talent’ soon brings the unwanted attention of an equally relentless Iraqi sniper, while life at home begins to show signs of strain.
Attempting to portray the emotional turmoil of war and the internal psychological struggles that follow, American Sniper, unfortunately, chooses to illustrate, and perhaps even celebrate, war as spectacle, completely diverting the film from a character-driven drama and turning it into just another full-blown and relentless war-thriller.
Having been criticised by many for its perceived rhetoric as over-patriotic, pseudo-propaganda, Eastwood – who stepped in to direct after Spielberg withdrew – does manage to infuse just enough tension and grit into the proceedings, but the fact that the script takes many creative liberties with the actual story only further serves to undermine the film.
Equipped with a southern-twang and forty pounds of muscle, Cooper embraces his role with a great amount of seriousness and commitment. The action is executed well and there is enough of it to keep trigger-happy audience satisfied, but its heavy-hand and surprisingly cheesy and overly dramatic set-ups – not to mention laughable props – tell a different story; one that mght well leave you feeling bowled over and bemused.
Sinking further and deeper into its very own rabbit-hole of absurdity, Taken 3 – the third and hopefully last chapter in Luc Besson’s generally well-liked but unmistakably flawed Taken trilogy – has finally outstayed its welcome. Abandoning logic and pretty much everything that connects its concluding statement to any of its predecessors, Taken 3 disappoints and not even Bryan Mills – and his special set of skills – can save it from its demise.
Directed by Olivier Megaton, Taken 3 takes us to the sunny streets of Los Angeles where ex-government operative, Bryan Mills (Neeson), is adapting to his relatively quiet and uneventful single life. Realising that his daughter Kim (Grace) is no longer the little girl he wants her to be, Bryan continues to look for ways to become a part of her life, while his ex-wife, Lenore (Janssen) – who is experiencing marital problems with her husband, Stuart (Scott) – is trying to become a part of his once more.
It doesn’t take long before Bryan is swung into action when Lenore is found murdered in his very own apartment and, just like Harrison Ford in the Fugitive, Bryan is the suspect. Escaping from the hands of the law, our hero – with the help of some old friends – sets off to carry out his own investigation, in the hopes of finding the person responsible before he’s caught by Agent Dotzler (Whittaker).
Apart from the title and the central characters, Taken 3 shares very little common thread or connective tissue with any of its previous instalments. The Euro-action grit introduced in the first movie is long gone and tension has been reduced to a simmer; a handful of dubious Eastern European, unforgiving plot holes and the over-zealous editing leave the film hollow of what made the previous films stand above the usual action spiel.
Neeson, who allegedly did all his own fight sequences, is still his capable and charming self, however, the improbability of the situations he finds himself in – not to mention the laws of gravity he dares test – fall into typical Hollywood ridiculousness. The ever dependable Whittaker serves to be a wonderful addition to the film, though his talents, along with the story’s initial potential and appeal, are shamelessly underused.