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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.
Courtesy of the infamous Blumhouse Productions, The Lazarus Effect is the latest thriller to dabble in the world of the undead, doesn’t have all that much new to show or say. Directed by David Gelb, the film’s rehashed premise – see Joel Schumacher’s Flatliners – lacks energy, leaving audiences with,' well, not very much.
The Lazarus Effect tells the story of engaged medical researchers,Frank (Duplass) and Zoe (Wilde), who, along with their team – Clay (Peters), Niko (Glover) and Eva (Bolger) – have just broken new ground by creating a serum that can bring back the dead. Commence eye-rolling. After successfully bringing a dead dog back to life, the team notice that some of the side-effects of the procedure are a little worrisome; the experiment has led to an increased brain-activity in the canine and particularly aggressive behaviour. Uh-oh!
However, their project is soon shut down by a large pharmaceutical company that has recently bought the company that has been funding them all this time.
Feeling like they’re on the verge of a groundbreaking discovery, Frank and Zoe sneak back into the lab, only for Zoe to be fatally electrocuted, leaving Frank no option but to inject her with the serum – cue mayhem.
Taking place almost entirely in the confines of a small science lab, The Lazarus Effect is strangely short – it clocks in at a brief eighty-three minutes – and it doesn’t take too long before its relatively engaging start descends into a big ball of horror jolts and clichés. Hiding behind dialogue weighed down by gobbledegook, behind the pseudoscience is very little real substance or originality.
Surprisingly, unlike its premise, the acting is solid and the group of young actors manage to create a believable and somewhat likable onscreen group-chemistry. As for Olivia Wilde, she’s definitely the glue that keeps the entire thing from falling apart; creepy and villainous, she makes for one beautiful and genuinely frightening antihero. But not even that can save what is tired and half-baked film – that’s not to mention the outrageously, unsatisfying abrupt ending.
Channelling his inner-Liam Neeson, if you will, multi Oscar-winning actor and occasional humanitarian, Sean Penn, dips his toes into what is a new type of emerging genre: geriaction. While it’s unlikely that Hollywood executives and actors will be using it anytime soon, the term refers to action films starring ‘aging actors’. At 54, Penn is no spring chicken, but the California native is in tip-top shape for Pierre Morel’s surprisingly flavourless and action-less thriller, The Gunman.
The story follows special operative Jim Terrier (Penn); a mercenary stationed in Congo who provides security services for mining operations. During his time there, he meets and falls in love with a humanitarian-aid doctor, Annie (Trinca), who is also there offering medical support for those in need. However, when asked to liquidate the local Minister of Mining by his shady bosses, Cox (Rylance) and Felix (Bardem), Terrier must oblige. Soon after carrying out the hit, he flees the country without as much as a goodbye to Annie.
Eight years later, Jim is once again in Congo and soon becomes the target of an unknown hit squad. Barely making it out of there alive, he makes his way to London in order to seek out his old partners and see if they can help him figure out who is behind the mess. However, Jim’s digging and snooping is not entirely welcome and after finding his way to Annie once more, the wanted couple has no choice but to go on the run together to Barcelona where they hope to come up with a plan to get themselves out of the chaos.
One of the most surprising things about The Gunman is how its final onscreen realisation is nothing like what its trailers suggests. It’s painfully slow, very chatty – the dialogue is filled with political gobbledegook – and, in terms of action, well, there isn’t any. Apart from a couple of shockingly brutal and bloody exchanges, the rest of the story is pretty lifeless and uninspiring. On the upside, the film’s aesthetics – courtesy of cinematographer Flavio Martinez Labiano – is effective and its use of sharp and vibrant imagery adds the much-needed pizzazz to the story.
As for Mr. Penn, he spends most of the time trudging around looking bored, tired and oh yes, shirtless. His broodiness rarely translates into more than just looking plain expressionless. Then again, his stunt work is pretty impressive and there is a certain sense of gravitas that he brings to the table; unfortunately, just not enough energy to make us all care.