What do you do when a group of 17 actors, choreographers, screenwriters, and circus performers want to take a turn at directing? Let them all do it at once, of course!
The Turning, an adaption of Australian author Tim Tinton's eponymous novel, is an interconnected collection of 17 short storie,s starring Australian actors Hugo Weaving, Rose Byrne, and Miranda Otto. Many of the storylines are interweaved to create a central plot-line relationship surrounding a young woman and her abusive husband living in a trailer park, although the trailer seems to hint at much more than that.
Keeping with the Down Under theme, mate, Australian actresses Cate Blanchett and Mia Wasikowska make their directiorial debuts with the film, joining a team of 15 other Australian directors: David Wenham, Benedict Andrews, Jonathan auf der Heide, Tony Ayres, Shaun Gladwell, Rhys Graham, Justin Kurzel, Ian Meadows, Yaron Lifschitz, Claire McCarthy, Ashlee Page and Stephen Page.
In an interview with SBS Film, producer Robert Connolly revealed that some of the directors will tell their story in a traditional way, while others will take an experimental approach. He also disclosed that a few of the directors wrote their own scripts. Huh... why does this remind me so much of a school project?
Wrapping up production on The Turning, which will premiere at the Melbourne International Film Festival in late July, Blanchett and Wasikowska will work together again as lovers in the upcoming drama Carol. Take a look at the powerful teaser trailer and see if you can make sense of the plot (because we can't).
Follow Lauren On Twitter @Lopay92 | Follow Hollywood.Com On Twitter @Hollywood_com
More: Cate Blanchett Loses Her Mind In Woody Allen's 'Blue Jasmine' TrailerNew 'I Give It A Year' Trailer Throws Rose Byrne Into The Comedy Limelight Once AgainSequel To Tim Burton's 'Alice In Wonderland' In The Works
From Our PartnersStars Pose Naked for 'Allure' (Celebuzz)20 Grisliest TV Deaths of 2012-2013 (Vulture)
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.