Music Feature

Film Review: Wrath of the Titans

by James Boney
From Greek tragedy to simply tragic.
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At roughly 99 minutes, the best thing that can be said about Wrath of the Titans is that it is mercifully short. Littered with clunky dialogue, mediocre CGI, and what barely passes as a ‘plot,’ the film does nothing to atone for its equally poor first showing in 2010’s Clash of the Titans.

Nearly a decade has passed since we last saw Perseus (Sam Worthington) defeat the Kraken. And after a brief introduction to Perseus’ new life as a fisherman and father, we learn that Hades (Joseph Fiennes), god of the underworld, and Zeus’ (Liam Neeson) other heir, Ares (Edgar Ramirez), intend to unleash upon the world the torment of the ultra-baddie, Kronos. (Kronos, as it turns out, is the estranged father of Zeus, Poseidon (Danny Huston) and Hades.) But before the mayhem begins, Zeus is kidnapped which results in Perseus assembling a team to rescue dear-old-dad from the underworld. This, dear readers, is the ‘plot.’

I think it safe to say that the plot merely serves as a delivery mechanism for the computer generated on-screen spectacle. This, of course, should not be unfamiliar to most contemporary movie goers. However, the problem with Wrath of the Titans is that even the CGI is at best standard. More often than not, the action is moving so fast that it leaves the viewer struggling to catch a sustained glimpse of whatever computer generated creature happens to be on screen at the moment. The endeavor is frustrating to say the least.

South African Director, Johnathon Liebesman, provides us with some interesting locales for his computer generated fisticuffs, but his dimwitted script drags the whole project down. We are forced to suffer through obtuse conversations and apocalyptic speeches that seem to exist only to fill in the gaps between monster battles. And in between those monster battles, Perseus’ armor seems to have been restored to its off-the-shelf shine. Gone are the marks of battle that you would expect. Perhaps I am being too strict on this point. After all, what are we to expect from a director that has provided us with such glimmers of cinematic excellence like Battle: Los Angeles and Texas Chainsaw Massacre: The Beginning?

In the end, my final suggestion is that if you must see this movie, do yourself a favor and at least see it on a traditional screen and save yourself the 3D ticket mark-up.

Follow James Boney on Twitter @otherminds

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