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.
Shedding many of those trappings that make a James Bond movie well a James Bond movie Quantum of Solace is really the first sequel ever in the long-running series. While it’s always exciting something gets seriously shaken and stirred in the translation. Picking up exactly where the brilliant Casino Royale left off we see Bond (Daniel Craig) trying to get to the bottom of why his love Vesper Lynd had to die jumping right into the first of many MANY chases as he traverses six countries. Still on rogue patrol Bond then inadvertently meets the crafty and gorgeous Camille (Olga Kurylenko) who introduces Bond to the evil Dominic Green (Mathieu Amalric) the head of an eco-phony stealth operation angling for some prime desert land while financing a crooked Bolivian general’s planned coup. With the ever resourceful M (Judi Dench) trying to keep him in line at all times Bond must put his revenge plans on hold as he crosses paths not only with Greene and his fake pro-environment front but also the intriguing and mysterious group known as Quantum. In this outing Daniel Craig -- leaner and meaner than any previous Bond -- really becomes a man of single-minded determination and grit. He’s less like the James Bond we know and love and more a humorless killing machine like Jason Bourne (those two should really get together). Still Craig is such a compelling actor that we are with him all the way even if he doesn’t go for the suave Bond moves. Olga Kurylenko is a great foil but not totally in the tradition of a Bond girl. A later encounter with Gemma Arterton as a British agent in Bolivia does however briefly recall the heyday of Goldfinger. Judi Dench has taken the perfunctory role of M and turned it into a full-blown supporting role. Her dry wit and take-no-prisoners attitude is welcomed every time she shows up on screen. French star Mathieu Amalric (The Diving Bell and the Butterfly) doesn’t really pull off his villainous alter-ego ecologist while Jeffrey Wright is pretty much wasted as U.S. agent Felix Leiter. At least Giancarlo Giannini returns for some nice moments with his Craig. Although they usually leave the challenging job of steering the Bond ship to an English director oddly this time the baton was handed to Marc Forster known more for his intimate dramas such as Finding Neverland and Monster's Ball. His grip on the action sequences is secure but he never really seems to have a handle on what distinguishes this legendary movie spy from everyone else. There’s a reason Bond has survived as a screen icon for almost half a century but the sort of workman-like filmmaking Forster displays here does not represent 007’s finest hour. It’s almost like the producers had a checklist: car chase on winding roads; boat chase; airplane chase; rooftop chase -- all check. Quantum of Solace is definitely worth checking out however. I mean it IS Bond and we wait for these movies on bated breath. Just maybe next time a little less Bourne please.
Playing second fiddle to a more famous sibling can be rough. Just ask Fred Claus (Vaughn) a regular guy who has had to grow up under the shadow of his little brother Nicholas Claus (Paul Giamatti) aka Santa. That’s a big shadow to say the least both figuratively and literally. As an adult Fred has pretty much steered clear of his family but when he finds himself in dire need of some fast cash he calls his brother. Pleased as punch to hear from him Nicholas nonetheless makes him a deal: If he comes up to the North Pole for a visit and to help out the few days before Christmas then Fred can have the money. Fred reluctantly agrees and soon he’s being whisked off in Santa’s sleigh by head elf Willie (John Michael Higgins). But once Fred gets to the North Pole nothing seems to go right and soon he is the cause of much chaos--which unbeknownst to Fred causes Nicholas even more stress since his North Pole operation is one step away from being shut down by a cold-hearted efficiency expert (Kevin Spacey). Can Fred quit being bitter in time to save his brother’s livelihood? Of course he can. Hmmm Vince Vaughn minus the R-rated Wedding Crashers/Old School irreverence? It’s a stretch. Seeing the comic actor playing it PG is a little weird but you might enjoy how Vaughn infuses his unique energy into Fred Claus. From getting all the elves to boogie down in Santa’s workshop to going on one rant after another (on his brother: “He’s a clown a megalomaniac a fame junkie!”) to pilfering money on the street and then being chased by Salvation Army Santas it’s all good. Giamatti too seems a little out of his comfort zone as the saintly St. Nick. The actor who usually plays such endearing sad sacks has already played against type to great effect this year as the maniacal bad guy in Shoot ‘Em Up but he isn't nearly as successful in doing the flipside of that in Fred Claus. And what the hell is Kevin Spacey doing in this? As the villain of the film he fills the shoes nicely but he is almost too good at it (natch) for such a feel-good family film. Even Higgins--a character actor who is usually so hilarious in films such as The Break Up and all of Christopher Guest’s movies—has to shed the cheekiness and sugar himself up for Fred Claus. There’s also Rachel Weisz as Fred’s beleaguered girlfriend (you heard right) and Kathy Bates as the Claus boys’ mother who always sees Fred as inferior to her other son to fill out a cast of big names doing family fare. Director David Dobkin is a Vince Vaughn favorite having directed him in Wedding Crashers and Clay Pigeons but like his muse Dobkin seems a little out of place guiding this material. Granted Dobkin creates a pretty magical North Pole complete with an entire city of little dwellings a Frosty Tavern and a huge domed Santa’s Workshop. The montage of Fred delivering presents on Christmas Eve—falling down chimneys stuffing cookies in his face zooming around in the sleigh—is also well done. But overall Fred Claus is a Vaughn vehicle—even as sugary sweet and family-friendly as it is--and all Dobkin really does is turn the camera on and let the man do his stuff. Dan Fogelman's script is also so very bland full of any number of holes and only picks up once Vaughn starts to improvise. Bottom line: If you’re looking to take the kids to a sweet Christmas movie and are a Vince Vaughn fan then Fred Claus is for you.