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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.
Created and directed by award-winning animators, Helene Giraud and Thomas Szabo – and based on a popular French animated television series – Minuscule: Valley of the Lost Ants is a story of friendship and courage told entirely without words.
Set in the diminutive world of insects, the film opens with a sprawling and sun-drenched forest landscape setting, where wildlife is at peace.
After witnessing the birth of ladybug triplets, their very-first flying lesson and the ill-fated separation of the youngest offspring, the story brings its focus on an abandoned picnic, left behind by a live-action couple.
It doesn’t take long before a group of animated black ants move in, delighted to get their hands on a tin box of sugar cubes. However, before they can whizz off back to their colony with their newly-found treasure, they discover a ladybug trapped in the box.
Intrigued and fascinated by their discovery, the black ants quickly make friends with the little bug, who – as they will soon learn – is set to play an important role in their quest; their plan is intermitted by an army of evil red ants, who just like everyone else, wish to get their hands on the sugary fortune.
Unlike the more flashy and boisterous Hollywood animated, Minuscule takes a whole different approach to the matter. Simple, undemanding and dialogue-free, with no star-studded cast to fill the void, the story celebrates wildlife, relishing in the glorious beauty of Mother Nature.
Shot in 3D, the visuals are wonderful, but never overbearing. Everything from the cleverly-constructed creepy-crawlies, their boggy eyes and their indistinguishable voices, to the picturesque dense-forest scenery, makes the film a truly unique, unforgettable experience.
Playful and entertaining, Minuscule: Valley of the Lost Ants offers a terrific insight into the world of these hard-working and untiring little soldiers, who – not unlike humans – have their own barriers to cross and battles to conqueror.
Zack Snyder wowed audiences back in 2006 with his super-slick fictionalised retelling of the infamous Battle of Thermopylae in 300. Now, the long-awaited sequel is here; bloodthirsty and unforgiving, it's safe to say that 300: Rise of an Empire will not disappoint fans of the first film.
Serving as both a sequel and a prequel, 300: Rise of an Empire takes its attention away from the Spartans and their army of noble men, this time putting its focus on the origins of their enemies and the wider ramifications of the events from the first film. The story is centred on Athenian General, Themistocles (Stapleton); a fearless warrior who, during the Battle of Marathon, fatally injured King Darius I (Naor), the great leader of Persia and father of God-King-to-be Xerxes (Santoro).
Ignited with anger and an incredible desire to spill Grecian blood, Greek-born Persian warrior, Artemisia (Green) plans to transform Prince Xerxes from a fearful Prince into a Persian God-King, to ultimately guide their people into war with the Greeks.
Ten years later, Xerxes is ready to send his troops into battle, concurrently engaging King Leonidas and his 300 Spartan men in the overwhelming Battle of Thermopylae, as well as General Themistocles, who goes on to battle Artemisia's naval army at sea. The fate of Greece lies entirely with Themistocles, whose army is once again devastatingly outnumbered, but whose determination and courage go a long way in their fight for freedom.
Santoro returns to reprise his role as the towering giant that is Xerxes and although the character’s backstory is one of the most engaging elements of the film, the Brazilian actor fails to offer any depth to the complex kind. As the lawful Queen Gorgo, Headey retains a very royal pride intensity as the wife of the fallen Leonidas, while Stapleton – as the film’s lead – delivers just enough to score a passing grade, but ultimately lacks the charm and presence of Gerard Butler.
On the other hand, adding Green into the picture is arguably one of best decisions that the filmmakers could have made; as the trouble-brewing Artemisia, she steals the show.
Sticking to the same visual aesthetic, 300: Rise of an Empire is just as absorbing as its predecessor, with director Noam Murro given the freedom to paint on a much larger – and bloodier – canvas.
Although the thrust and energy of 300 seems like an awfully difficult feature to replicate, there are still plenty of adrenaline-pumping moments behind the blood-stained battles to make 300: Rise of an Empire an enjoyable follow-up.