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.
Based on the popular children’s book by Jeanne DuPrau City of Ember is really a cautionary tale: Don’t build an underground city as a refuge for humanity against the threat of a world gone mad and forget to tell its denizens that their city will fall apart after 200 years. To be fair the original “Builders” of Ember tried to set up an exit strategy but didn’t account for the possibility of human error. Thus when the deadline comes the current Ember-ites have no idea why their giant generator powering the whole city is failing. Although he is supposed to know The Mayor (Bill Murray) has no clue--and frankly doesn’t care that much since he has his own exit strategy. The only ones extremely concerned are teens Doon (Harry Treadaway) and Lina (Saoirse Ronan) who discover an ancient document and end up racing against the clock following the clues they hope will lead them--and the rest of the people of Ember--to safety beyond their doomed city. Irish actress Saoirse Ronan best known for her amazingly sophisticated Oscar-nominated performance in Atonement has a face the camera loves. With wide expressive eyes and deep concentration she makes City of Ember that much more compelling simply by the way her face registers a moment. You can tell what she’s thinking without her ever saying a word. She’s quite something. Treadaway (Control) isn’t nearly as effective but he fits the action-hero shoes well. Murray seems to be up to his I-hate-kids tricks (shades of W.C. Fields) but has fun with his vain Mayor. But most of the other adults are somewhat wasted including Toby Jones as the Mayor’s henchman; Marianne Jean-Baptiste as Lina’s ally; Martin Landau as an old laborer who works in the city’s pipes; and finally Tim Robbins as Doon’s inventor dad. They all have the makings to be interesting characters but there’s just not enough about them on screen. I suppose reading the book would help. Director Gil Kenan is a still a kid at heart it’s easy to see. Having made his directorial debut with the visually stunning Monster House he moves into familiar territory with City of Ember tackling the live-action milieu this time around. The city itself is fantastic to look at from the millions of overhead street lights illuminating Ember to Lina’s yarn-filled apartment where she lives to even the smallest details such as a door knob. Kenan takes you down deep into this underground mecca to the point you almost feel claustrophobic. City of Ember certainly isn’t a flick for the younger audiences either with dark scary things lurking in the Pipeworks of the city. Kenan however isn’t quite savvy enough yet to elicit good performances from his actors which is where City of Ember falters a bit--save for Ronan; Kenan just lucked out with her. No matter this adaptation is about the visuals and the thrill of escaping from City of Ember and it delivers the goods on all accounts.
It's that time of the year again; When people flock from all directions to the south-westernmost tip of the United States and take in the festivities of the San Diego Comic-Con. This year, Fox Walden Studios offered up a fantastic new treat for some of us journalists making the trip down from Los Angeles; a railway train themed after the upcoming fantasy film City of Ember.
The film, based on the children's book series by Jeanne Duprau, tells of a vast underground city called Ember .The inhabitants have grown used to living in their specialized society and are kept away from the dark mysteries that lay at the city's edges, dwelling in an intricate construct illuminated by a generator that has been running for hundreds of years. History lost to the citizens of Ember, their generator has started to fail and it falls to two children, Lina and Doon, to uncover the answers that may lie beyond the city walls.
Arriving this morning at Union Station in downtown Los Angeles, I was instructed to keep my eye out for people in blue jumpsuits. These "Citizens of Ember" lead me to the train car; an old-fashioned carriage decked out with props and costumes and everything on-board from serving bar to a working barbershop. As we boarded, a brass band played a cheery farewell from the railway platform and an Ember official lead the passengers through the city's rules, making us all swear a loyalty oath.
In Ember, children graduate at a young age and are -- through a lottery process -- given jobs that will stay with them for their entire lives. One costume near the back of the train is a long red cloak worn by messengers. Because there are no phones in the city, it becomes the job of the messenger to deliver news through the city streets.
Director Gil Kenan -- the creative force behind 2006's impressive Monster House -- gladly escorted us to an improvised screening room in the back of the train. The first thought of pairing Kenan against the footage is that he looks so young, as though he's fresh out of college, while his film has the determined style of a fantasy auteur.
The first scene he showed introduced us to the characters and the city (which, Kenan explained, was intended to play as vital and as personable a role as any of the actors). The streets have an almost art deco quality combined with a heavy influence of German expressionism. Imagine a utilitarian and fully-functioning rendering of the streets from "The Cabinet of Dr. Caligari" and you'll get a sense of some of the visual magic at play in Ember.
Bill Murray plays the Mayor of Ember in the perfectly deadpan way that only he can, presiding over the citizens and doling out the jobs on graduation day. The lead, Lina, is played by Saoirse Ronan, straight from her Oscar-nominated performance in last years Atonement. Arriving late to her graduation day, Lina is appointed a job working in the sewer system but manages to trade with her friend Doon (Harry Treadaway) and become a messenger instead. It's not long before her new job causes her to find out some secrets about Ember that propel the two of them into a quest to find the city's secrets and a way to keep the lights burning.
Though the original book was written for children, Kenan explains that movie is designed to play to all ages. It's a fantasy and an adventure film, complete with puzzles and chases. "If Indiana Jones were in it," laughs Kenan, "It would be an 'Indiana Jones' movie."
Caroline Thompson, the screenwriter behind cinematic classics Edward Scissorhands and The Nightmare Before Christmas was charged with the task of transforming Duprau's world for the silver screen. The intent, she explained, was less about matching the novel exactly and more about providing the same sense of wonder. To that end, there are few creative additions including creatures (some bizarre and some beautiful) that our heroes encounter.
Gracious as he is, Kenan explains that the feel of Ember would have been impossible without the sizable contribution of Production Designer Martin Laing. Laing, coming off years of pre-production work on James Cameron's Avatar and Battle Angel, was overjoyed at the chance to get something up on the screen in such a major way. Ember was built as one massive set, based on sketches and paintings Laing created by hand.
Though a self-contained film, the trilogy of books leaves open the potential for Ember sequels, something to which everyone involved seems interested in potentially pursuing. As for me -- and as exciting as Comic Con is looking to be this year – I couldn't help but feel a little disappointed to step off the railway car in San Diego and leave the City of Ember behind.
I'm looking forward to returning for a full visit on Oct. 10.