Louis Leterrier’s remake of Clash of the Titans the 1981 cult favorite that fused Greek mythology with sci-fi theatrics is a grand experiment in the ancient art of alchemy a big-budget attempt to spin fanboy nostalgia for a 30-year-old novelty into contemporary box-office gold. The main ingredients in this ambitious concoction are a potent arsenal of CGI weaponry and the star of the biggest movie ever Sam Worthington who inherits Harry Hamlin’s role as the heroic Perseus. But it’s what’s missing from the formula that ultimately dooms this remake.
Clash of the Titans redux mimics the original film’s epic ethos and preference for spectacle over all else but its storyline differs dramatically. Perseus is still the half-breed product of a one-night stand between the god Zeus and a human hottie and he still must to defeat the monstrous Kraken in order to save the lovely Princess Andromeda. Almost everything in between however has been altered — and not necessarily for the better.
The new version casts the Greek city of Argos as the primary battleground in a proxy war fought by dueling Olympian superpowers Zeus (Liam Neeson) and Hades (Ralph Fiennes). Born of a god but raised by and partial to humans Worthington’s Perseus battles not for the hand of Andromeda (Alexa Davalos) — as Hamlin’s character did — but instead for the people of Argos who stand to perish along with their princess at the hands of the dreaded Kraken. The film’s love story if it can be called that consists of the briefest of flirtations between Perseus and Io (Gemma Arterton) his self-appointed spiritual guide. (Cursed with immortality by the gods Io’s been secretly watching him all his life — which ostensibly makes her a glorified stalker.)
This detail is a small but crucial one. Strong-willed Perseus braves an obstacle course of giant scorpions gorgons and other horrors laid out for him by the wheezy fiend Hades but it’s never quite clear why he bothers with it all since what’s at stake is a princess he isn’t particularly interested in and a community of people he doesn’t really know — and who frankly don’t seem all that worth saving. His deadbeat dad up on Mount Olympus certainly isn't worth dying for nor are the battlefield compatriots he met barely a week prior. And while I’m sure that a few inviting glances from Gemma Arterton are positively delightful I wouldn’t risk being doused in flesh-eating scorpion venom for them.
This narrative oversight triggers a drain in enthusiasm that persists throughout the film. For a movie so epic in scale Clash of the Titans makes for a disappointingly bland ride. Leterrier’s CGI set pieces are at times magnificent but they’re proffered in the service of weak story filled with characters whose motivations are either unclear or unconvincing. During the film’s climax when Neeson’s Zeus utters the portentous words “Release the Kraken ” what should be an emotional high point instead feels perfunctory and anticlimactic. The only excitement it spawns comes from the knowledge that the end is mercifully imminent.
Source: The Hollywood Reporter
Jason Winer (ABC's Modern Family) will direct Warner Bros. Arthur remake. Russell Brand will play the role originated by Dudley Moore in a Warner Bros. remake of the 1981 film, Arthur.
The original movie followed a boozy playboy rascal who is set to inherit a fortune if he marries an heiress his family thinks will make something out of him. However, he falls in love with a working-class woman and turns to his valet for help when his family makes him choose between money and love.
Peter Baynham (Borat) wrote the screenplay for the remake.
The Night at the Museum star rose to fame in the U.K. series about a failed TV and radio presenter, before moving on to Hollywood films including Tropic Thunder and Around the World in 80 Days.
Coogan is keen to reprise his breakthrough role for a movie - but only if he can work with original writers Armando Iannucci and Peter Baynham.
He says, "This is kind of make or break. In a month it'll be very clear whether we're going to do it or not. You have to get all the right elements. We're not going to do it unless we think we can do something really good."
Jagshemash! (Note: Excuse please any and all Borat-isms in this review. They've infiltrated our vernacular--just like they will yours! Chenquieh.) Borat Sagdiyev (Sacha Baron Cohen) a noted celebrity and TV talking head in his native Kazakhstan is set to travel to U.S. and A. for well make benefit glorious nation of Kazakhstan. With a camera crew and his show's director Azamat Bagatov (Ken Davitian) along for the ride Borat stops first in New York City. It is a nice! Like anyone from a faraway land he is amazed that his hotel room is larger than an elevator and by all the peoples on the subway and by Pamela Anderson. In fact he is so smitten after watching his first Baywatch episode that his mission has changed: He will go to California and marry Pamela and hopefully make a sexy time! Of course he and Azamat will still have to cross the country--in their ice cream truck--to get there stopping along the way in the biggest cities and smallest towns and seeing everything from "vanilla faces" and "chocolate faces" to women who get to choose their sexual partners. If Academy voters had any "khram" whatsoever they'd give Cohen an Oscars invite...which he'd promptly parlay into the opening scene for Borat 2. And who in their right mind wouldn't just kill to see that acceptance speech?! But I optimistically digress. Any breakdown of Cohen's inhabitance of his alter ego Borat--one of three from his beloved Da Ali G Show; he's reportedly set to immortalize Bruno his gay Austrian fashionista from the show next--reveals what is stealthily one of the best performance in years. Before you scoff consider the indisputable facts: In Borat Cohen is (a) pretending to be if not totally becoming someone else and (b) has positively just one take to nail each scene and nail each scene he does. If those don't comprise an amazing performance in the most fundamental sense then what's the criterion? And not to be forgotten in all that Cohen pulls off here is Borat's entire straight-faced diction--from the accent to the word usage--which audiences could appreciate more in earnest if their howls of laughter didn't overpower some of the dialogue but who can blame 'em? Lest we forget veteran actor Davitian (a California native!) has a hand in quite a bit of the madness as well. One of his scenes in particular will be burned into your memory for a long time to come. Oh you'll know it when you see it--it's the one that makes a Steve-O stunt look like PBS programming. Borat is admittedly not for everyone because some people just don't like to laugh! In all seriousness--and more so as an obligatory disclaimer--the movie is beyond offensive and some people will walk out. But the worst thing you can do is dismiss it even if you just skip it. Because underneath Cohen's mustache that puts Earl Hickey's to shame his soiled suit and his who's-gonna-know-it's-faux? Kazakh accent the British comedian is interested not in attacking America but rather in exposing its underbelly that is rarely vulnerable--in other words if he didn't want to wake people up with this film it would've been called Cultural Learnings of Switzerland (which still would've been pretty funny). Thus his intentions while not necessarily educational fall somewhere between hilarity and eye-opening satire--not vitriol. Director Larry Charles (Seinfeld Curb Your Enthusiasm Entourage) must have some stories to tell his grandchildren about the guerilla-style hit-and-run filmmaking that was executed but as co-writer star and character creator Cohen shoulders all the onus credit and death threats. His anonymity and privacy might take some hits too. Speaking of which he is indeed Jewish. Unfortunately for Cohen however he's not also black mentally or physically handicapped gay a female a gypsy a Kazakhstani or an animal. Which is to say loosen up people! Nobody goes untouched here least of all the man perpetrating the offenses.