Much like its Greek mythological source material Wrath of the Titans is light on dramatic characterization sticking to blunt moral lessons and fantastical battles to tell its epic tale. That's perfectly acceptable for its 100 minute run time in which director Jonathan Liebesman (Battle: Los Angeles) unleashes an eclectic hoard of monsters upon his gruff demigod hero Perseus. The creature design is jagged gnarly and exaggerated not unlike a twelve-year-old's sugar high-induced crayon creations — which is perfect as Wrath is tailor made to entertain and enamor that slice of the population.
Clash of the Titans star Sam Worthington once again slips on the sandals to take on a not-quite-based-on-a-myth adventure a mission that pits Perseus against the greatest force in the universe: Kronos formally-incarcerated father of the Gods. A few years after his last adventure Perseus is grieving for his deceased wife and caring for their lone son but a visit from Zeus (Liam Neeson) alerts the warrior to a task even more urgent than his current seabass fishing gig. Irked that the whole Kraken thing didn't work out Hades (Ralph Fiennes) with the help of Zeus' disaffected son Ares (Edgar Ramirez) is preparing to unleash Kronos — and only Perseus has the required machismo to stop him. But Perseus enjoys the simple life and brushes off Zeus forcing the head deity to take matters into his own hands…just as Hades and Ares planned. The diabolical duo capture Zeus and having no one else to turn to Perseus proceeds into battle.
The actual reasoning for all the goings on in Wrath of the Titans tend to drift into the mystical realm of convolution but the ensemble and Liebesman's visual visceral directing techniques keep the messy script speeding along. As soon as one starts wondering why Perseus would ever need to hook up with battle-ready Andromeda (Rosamund Pike) or Poseiden's navigator son Agenor (Toby Kebbell) Liebesman and writers Dan Mazeu and David Johnson throw in another bombastic set piece another three-headed four-armed 10 000-fanged monstrosity on screen. Perseus' journey pits him against a fire-breathing Chimera a set of Cyclopses a shifting labyrinth (complete with Minotaur) and all the dangers that come with Hell itself. The sequences have all the suspense of an action figure sandbox brawl but on a towering IMAX screen they're geeky fun. If only the filler material was a bit more logical and interesting the final product would be the slightest bit memorable.
Liebesman reaps the best performances he possibly can from Wrath's silly formula Worthington again proves himself a charismatic underrated leading man. As the main trio of Gods Neeson Fiennes and Ramirez completely acknowledge how goofy shooting lightning bolts out of their hands must look on screen but they own it with campy fun tones. But the film's overwhelming CG spectacle suffocates the glimmer of great acting opting for slice-and-dice battle scenes over ridiculous (and fun) epic speak nonsense. If a movie has Liam Neeson as the top God it shouldn't chain him up in molten lava shackles for a majority of the time.
Wrath of the Titans is a non-offensive superhero movie treatment of classic heroes that feels more like an exercise in 3D monster modeling than filmmaking. Its 3D makeover never helps the creatures or Perseus pop turning Wrath into an even muddier affair than the single-planed alternative (although unlike Clash of the Titans you won't have 3D shaky-cam blur burned directly into your retinas). The movie reaches for that child sense of wonderment but instead cranks out a picture that may not even hold a child's attention.
Perhaps Harry Potter and the Deathly Hallows should have been a trilogy. Splitting the sprawling finale to author J.K. Rowling’s boy wizard saga into three parts — as opposed to its chosen two-part incarnation — might have come across as shameless profiteering (admittedly a not-uncommon practice in this town) but it wouldn’t have been without merit. At 759 pages Rowling’s source novel is said to be a rather dense work plot-wise; surely it could have easily warranted another installment?
I only say this because Harry Potter and the Deathly Hallows Part 1 though certainly a decent film clearly strains from the effort required to fit the book’s proceedings into a two-act structure. While Part 2 slated to open approximately six months from now is alotted the story's meaty parts — namely the spectacular Battle of Hogwarts and its emotional denouement — Part 1 must bear the burden of setting the stage for the grand confrontation between the forces of Light and Dark magic and framing the predicament of its three protagonists teen wizards Harry Potter (Daniel Radcliffe) Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint) in suitably dire terms. And it's quite a heavy burden indeed.
As the film opens the evil Lord Voldemort (Ralph Fiennes) having assumed control over Hogwarts since the events of the preceding film Harry Potter and the Half-Blood Prince has wasted no time in initiating his reign of terror. As far as historical evil-dictator analogues are concerned Voldemort appears partial to the blueprint laid by Stalin as opposed to that of his genocidal pact-pal Hitler. Enemies of the Dark Lord's regime are prosecuted in dramatic show trials presided over by the Grand Inquisitor Dolores Umbridge (Imelda Staunton) while muggles (non-magic folk) and half-bloods are denounced as "undesirables" and “mudbloods” in Soviet-style propaganda posters and forced to register with the authorities.
As the only viable threat to Voldemort’s dominion Harry and his allies are hunted vigorously by Bellatrix LeStrange (Helena Bonham Carter) and her goon squad of Death Eaters. The Boy Who Lived now fully grown and in more or less complete command of his powers is still no match England's nasally scourge. Labeled "Undesirable No. 1" by the Gestapo-like Ministry of Magic he's is forced to go on the lam where he labors along with Ron and Hermione to solve the riddle of Voldemort’s immortality.
For those not well-versed in Rowling’s source material the film’s opening act is a frustrating blur: After an all-too-brisk update on the bleak state of affairs in Hogwarts we are hastily introduced (or re-introduced) to a dozen or so characters the majority of whom are never seen again. A few even perish off-screen. Had we gotten a chance to get to know them we might be able to mourn them as our heroes do; instead we’re left racking our brains trying to recall who they were and how they figured in the plot.
Rowling's flaws as a storyteller — the over-reliance on deus ex machina devices (in this case we get both a doe ex machina and a Dobby ex machina) the ponderous downloads of information (not unlike those of that other uber-anticipated and somewhat overrated 2010 tentpole Inception) the annoying ability of characters to simply teleport (or "disapparate") away from danger etc. — are more evident in this film than in previous chapters. And rather than obscure these flaws director David Yates and screenwriter Steve Kloves both franchise veterans arguably amplify them.
What saves the film are Rowling's three greatest achievements: Harry Ron and Hermione who along with the actors who play them have evolved beyond the material. The film's narrative gains its emotional footing during the heroic threesome's exile ostensibly a series of camping trips — with tents and everything — during which they reflect on their journey together the challenge that awaits them and the sacrifices it will require. Though they occasionally verge on tedious these excursions into Gethsemane allow us precious quality time with these characters that we've grown to adore over the course of seven films even if the plaintive air is spoiled a bit by some rather puzzling attempts at product placement. In their rush to flee the Dementors and Death Eaters it seems that they at least took care to pack the latest in fall fashion:
As devout readers of Rowling's novels know all too well the only foolproof shield against Voldemort's minions is the Bananicus Republicum charm.
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.
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Oscar buzz continues at the box office this weekend as a few of the year's most highly touted films open in both wide and limited release.
Tom Hanks and company lead the way in the prison drama "The Green Mile," based on the popular series by Stephen King and directed by Frank Darabont. Five years ago, Darabont came to prominence with another prison-bound tale by King called "The Shawshank Redemption." That movie, which frequently tops lists of the most popular films of all time, garnered seven Academy Award nominations.
Other Oscar hopefuls include the limited releases "Cradle Will Rock" and "The Cider House Rules." "Cradle," directed by Tim Robbins and featuring an all-star cast, details the events of New York City's art scene in the 1930s. "Cider," directed by "What's Eating Gilbert Grape's" Lasse Hallstrom, is a quirky, coming-of-age love story adapted from John Irving's book. It stars up-and-comers Tobey Maguire and Charlize Theron.
Those in the mood for lighter fare (especially fans of the Adam Sandler/Chris Farley set) should be delighted by the release of "Deuce Bigalow: Male Gigolo." Rob Schneider, another "Saturday Night Live" alum and frequent co-star in the Sandler films, gets his chance to play dumb as a pool cleaner turned first-class male hustler.
Smaller films vying for attention in limited engagements are "Diamonds," a road movie about family relationships co-starring Kirk Douglas and Dan Aykroyd; "Miss Julie," a sexy affair starring "Deep Blue Sea's" Saffron Burrows and directed by "Leaving Las Vegas'" Mike Figgis; and "Wallowitch & Ross," a documentary covering the careers of entertainers John Wallowitch and Bertram Ross.
The following is a complete list of all the week's releases.
Friday, Dec. 10, 1999
"Deuce Bigalow: Male Gigolo" (Buena Vista) -- Rob Schneider stars as Deuce Bigalow, a down-on-his-luck guy who cleans fish tanks for a living. While fish-sitting for a debonair, world-class male escort, he mistakenly answers the business phone and becomes "Deuce Bigalow: Male Gigolo."
"The Green Mile" (Warner Bros.) -- Set during the Great Depression, Michael Clarke Duncan plays a Death Row inmate in a Southern prison who possesses the unusual gift of healing. Tom Hanks co-stars as the penitentiary guard who, upon discovering the inmate's miraculous power and gentle nature, begins to question the man's guilt.
"Cradle Will Rock" (Buena Vista) -- Based on true events in the cultural and art scenes of 1930s New York City, this film follows various cultural workers -- including Mexican artist Diego Rivera, theater director Orson Welles and propagandist Margherita Sarfatti -- as they defend their artistic expressions in the face of political paranoia and government censorship. John Cusack, Bill Murray and Susan Sarandon co-star.
"The Cider House Rules" (Miramax) -- Directed by Lasse Hallstrom and adapted from John Irving's best-selling novel, this coming-of-age story casts Tobey Maguire as a young man who has spent his entire youth in an orphanage. Hungry for experience, he sets out to explore the world outside. Charlize Theron and Michael Caine co-star.
"Diamonds" (Miramax) -- In an effort to bond with estranged son Dan Aykroyd, former prizefighter Kirk Douglas takes his son and grandson on a road trip to Reno in search of 13 stolen diamonds, stashed away years ago. The quest for the hidden gems affords the men a lesson in fatherhood, reconciliation and the price of growing older. Lauren Bacall co-stars.
"Miss Julie" (MGM) -- Director Mike Figgis returns with a tale of sexual seduction and class conflict set at a wealthy estate. Saffron Burrows stars as an affluent count's sexually wanton daughter who begins an ambivalent and destructive affair with an opportunistic servant, played by Peter Mullan. By the end of the night, the illicit liaison pushes the emotionally unbalanced heroine toward a certain self-destructive act.
"Jerome" (Phaedra) -- Drew Pillsbury plays a man who abandons everything he knows -- his wife, his son, his job -- and heads across the desert to Jerome, Ariz., to pursue his dream of becoming an artist. Despite his determination, the hapless dreamer gets sidetracked when an iconoclastic female drifter, played by Wendie Malick, crosses his path.
"Wallowitch & Ross: This Moment" (First Run) -- Written and directed by Richard Morris, this moving portrait details the career and partnership of entertainers John Wallowitch and Bertram Ross. The documentary recounts from the beginning when Ross was a principal dancer for Martha Graham and Wallowitch was a gifted Juilliard student. Their initial meeting in New York paved the way for an enduring collaboration and a lasting romance.
"Sweet and Lowdown" (Sony Pictures Classics) -- In Woody Allen's latest, Sean Penn plays musician Emmet Ray, a self-proclaimed jazz guitar genius of the 1920s and 1930s. The bigger-than-life portrait follows the eccentric personality through his notorious career as he clashes with lovers, friends, enemies and gangsters in New York City. John Waters and Uma Thurman co-star.
"42 Up" (First Run) -- In 1964, filmmaker Michael Apted began his marathon documentary series about the lives of a group of 7-year-old kids in England, each from radically different socioeconomic backgrounds. Since then, the director has continued to chronicle the ups and downs of his subjects at 7-year intervals. The sixth installment is the latest update on these people at the crossroad of the big 42.
"Tumbleweeds" (Fine Line) -- Leaving an abusive boyfriend behind, single mother Janet McTeer and daughter Kimberly J. Brown head for the sunny suburbs of San Diego to start anew. Once again, McTeer swiftly enters into a destructive relationship and is tempted to look for an easy way out. However, her headstrong daughter, tired of her rootless existence, refuses to abandon her newly established life.