Tag Archives: Sam Worthington

[Review] – Wrath Of The Titans

15 Apr

Title: Wrath of the Titans
Year: 2012
Director: Jonathan Liebesman
Writers: Dan Mazeau and David Johnson, based on a story by Mr. Mazeau, Mr. Johnson and Greg Berlanti, based on the original 1981 screenplay by Beverley Cross
Starring: Sam Worthington, Rosamund Pike, Bill Nighy, Édgar Ramírez, Toby Kebbell, Danny Huston, Ralph Fiennes, Liam Neeson
MPAA Rating: PG-13, intense sequences of fantasy violence and action
Runtime: 99 min
IMDb Rating: 6.2
Rotten Tomatoes: 23%
Metacritic: 37

I remember watching Clash of the Titans in 2010 and not really liking it at all (I gave it a C-), thinking that while director Louis Leterrier certainly seemed to really like the original film he was remaking, he paid no mind whatsoever to any sort of storyline and just dedicated himself to crafting these huge action set pieces, not to mention that it was converted to 3D in post-production which is just a really shameless way to try to get more money. And money it got, bringing in over $490 million at the worldwide box office, which meant of course that a sequel to it was fast-tracked, which in turn resulted in us getting Wrath of the Titans, which, even though sees an improvement in the 3D department, is just as crappy in every other aspect.

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Man on a Ledge

16 Feb

Title: Man on a Ledge
Year: 2012
Director: Asger Leth
Writer: Pablo F. Fenjves
Starring: Sam Worthington, Elizabeth Banks, Anthony Mackie, Jamie Bell, Ed Harris, Génesis Rodríguez, Kyra Sedgwick, Edward Burns, Titus Welliver
MPAA Rating: PG-13, violence and brief strong language
Runtime: 102 min
IMDb Rating: 6.7
Rotten Tomatoes: 32%
Metacritic: 40

 

Man on a Ledge is a film that keeps itself really, really busy throughout it entire running time. My guess is that the reason as for why the plot is just so incredibly packed is that the filmmakers needed to keep you distracted because once you start picking the plot apart you’ll realize that this is just a ludicrous film, so many plot holes just up there for your viewing, thinly veiled by all the stuff the film tries to throw at you. What’s worst is that the main premise, that of the titular “man on the ledge”, is intriguing enough and could have made for a better film had the many other dumb plotlines that drown that main story been erased or dialed down a bit, and had the actors had put at least a bit of effort into this one, it just seemed as though they were doing this for a paycheck and a chance to shoot in New York.

Sam Worthington plays Nick Cassidy, an ex-cop who was serving some time in a prison until he’s given a day off to attend his father’s funeral, and in the process manages to escape his guards, change from his jail uniform, get himself to a tall Manhattan hotel, grab a nice breakfast and then go to the top of said hotel, and threaten to jump of a ledge. And look, that’s good I guess, we all know that the guy’s not going to jump straight away because that would mean our movie’s over, but so much stuff starts piling up you’ll realize this is too much, and it gets to the point in which the actors aren’t given a chance to act, which is maybe why they seemingly didn’t put that much effort into it.

That’s an even bigger pity when you consider that there are plenty of good actors in this film. A couple of good actors show up immediately as soon as the whole area becomes aware of the guy atop the building, a crowd accumulates at the bottom of the ledge (which, as we see in one too many shots from his point of view, is seriously high) and with them come two police officers, one played by Edward Burns and the negotiator that’s played by Elizabeth Banks who I’m a huge fan of and who got away with her dignity untouched from this film. But anyways, traffic is stopped, the people around him start chanting, pointing their cellphones at him, all while a reporter played by Kyra Sedgwick covers the action.

However, little by little we start realizing that Nick might have an ulterior motive for being up on the ledge. You see, the film starts cutting from him to a mogul played by Ed Harris who’s this Donald Trump sort of fella who has his offices at the building just across the street from the hotel Nick is threatening to jump off of. Also across the street, Jamie Bell and Génesis Rodríguez are breaking into the building, donning the suits and cracking the safes that I guess was meant to seem kick-ass, but it just wasn’t, even less so considering it was just two months ago that we saw all of that done in the best of ways in Mission: Impossible – Ghost Protocol (which I gave an A to).

That’s when the movie would like you to be shocked, as you realize that the man on the ledge is directly tied up to the two guys in the building across the street, as you realize that him being up there is just a diversion to stall traffic and to create a tumult that would distract from the other tumult, you know? Well, it’s not shocking because it’s just not well done at all. From the Ed Harris character looking all powerful smoking his big cigar to Kyra Sedwick trying to give meaning to all of this to Anthony Mackie also showing up as Nick’s ex-partner, these are all diversions the movie throws at you much like the one Nick himself is, trying to get you distracted enough so that you don’t notice how ridiculous this all is.

Think about it, the whole plan is just really off. This is supposed to be a master heist plan, and yet it’s one that depended entirely on a series of variables that were totally not in their favor. Nick needed to be released on one day and be able to break out from guards and not be caught in Manhattan and get himself to the top of a hotel and not fall from a ledge. Not to mention that even if he got to the ledge the plan would still be insanely hard to pull off. It’s just all way off, and I couldn’t buy into it for a single second, and considering there’s such a hubbub surrounding the entire situation it’s not as though we can invest in our characters because they’re not developed at all, and the acting is just off, so that means the whole film depends on the many plot twists and machinations working out properly, and if you use the tiniest bit of logic you’ll realize they just don’t. Had this film been lighter in tone and played it like an action-comedy I actually think it could have worked slightly better.

Grade: C 

Texas Killing Fields

24 Nov

Title: Texas Killing Fields
Year: 2011
Director: Ami Canaan Mann
Writer: Don Ferrarone
Starring: Sam Worthington, Jeffrey Dean Morgan, Jessica Chastain, Chloë Grace Moretz, Jason Clarke
MPAA Rating: R, violence and language including some sexual references
Runtime: 105 min
Major Awards: –
IMDb Rating: 5.5
Rotten Tomatoes: 35%

And so we arrive at the fifth stop in the Jessica Chastain Breakout Tour 2011. I, like many, have been making note of the fact that Ms. Chastain is becoming tremendously ubiquitous this year, using the whole of 2011 as one huge coming-out party to establish herself as one of the very best even though she’s only been at it for a year, a party that isn’t stopping anytime soon, with Coriolanus and Wilde Salome still to come. The thing is that not only has Ms. Chastain seemingly been in every other film this year, not only has she been good in them, but she’s been in some spectacularly great films. I mean, The Tree of Life is masterpiece which I gave a perfect score to, The Help I gave an A- to, I awarded a B+ to The Debt and gave an A to the last film of hers I had seen, Jeff Nichols’ brilliant Take Shelter. Her perfect streak, however, ends with Texas Killing Fields, which I just saw.

Don’t get me wrong, Ms. Chaistain is perfectly fine here, and the film is actually a decent enough crime thriller, but it just wasn’t original at all to me, and I can’t recommend it because of that, because it’s just giving us stuff that we’ve seen in way too many films of its kind before. Not to mention that I thought the cast, which also included Sam Worthington (who also starred in The Debt with Ms. Chastain), Jeffrey Dean Morgan and the awesome Chloë Grace Moretz had much more potential than what was realized on-screen.

We’re thrown into the Texas bayou, where of course pretty horrible stuff happens more than in your average location, and which gives us these two local detectives trying to figure out the murder of a young girl. Look, the film does its job, I want to make that clear, it tells an above-average crime story in its center and fills the gaps in with looks at small-town police work and daily life, even if the latter two it doesn’t do as effectively. Still, it’s good that we get to know the places and the faces, especially when we have fine actors doing the telling, I just thought that this kind of stuff is the sort we can find in just as good a quality, if not better, in a couple of the procedurals currently on TV.

Don Ferrarone, a former DEA agent an advisor on films such as Man on Fire and Enemy of the State, makes his screenwriting debut here, with directing duties falling onto the equally unexperienced Ami Canaan Mann, who had only directed another feature-length film and that was back in 2001 and was little-seen (though in the interim she did direct an episode of Friday Night Lights, the best TV series of all-time in my humble opinion), she’s the daughter of Michael Mann, who acted as a producer here and I’m guessing paired her up with Mr. Ferrarone who acted as an advisor on his Miami Vice film adaptation. The thing is, it kind of shows in this film that they were a pair that hasn’t had much experience crafting these films, because while the atmosphere feels believable and sucks you in, the character development is just super messy and does nothing to keep you engaged in the proceedings.

It’s that lack of detail that made this film one I wouldn’t really recommend, because while the players assembled in front of the camera are all great, Mr. Worthington actually delivering one of the better performances I’ve seen of him, the plot and dynamics of this whole film just seem rehashed from one too many TV shows which was what lost my attention. Not to mention that, in the moments that the film deviated from the formulaic approach, it went way off the rails and had me lose my grasp on the story, with scenes that didn’t always follow each other and the role of the characters not always super clear. You got presented to stuff that seemed vital and then you lost sight of them, the elements were there for this to be a really decent little crime thriller but it’s just to messy to get its act together, literally.

The good thing, like I said, is that however messy the direction otherwise is, Ms. Mann shows a great hand at creating a really effective atmosphere in this film. The quiet moments, the interrogation scenes, the car chase, those were all really well done. And the cinematography by Stuart Dryburgh (an Oscar-nominee for The Piano and who will also work with Michael Mann on his upcoming Luck pilot for HBO) was really effective, making every location seem like a place in which something huge was happening. So yes, there were some good parts, and the performances by absolutely everyone involved here were great, it’s just that the plot structure was all over the place, and once you got past the police case, which wasn’t all that interesting to begin with, you’re left with characters that you can’t really invest on because they’re so underdeveloped, no matter who’s playing them. It’s a respectful attempt, but I couldn’t help but feel that Texas Killing Fields would have worked much better as some kind of supersized pilot episode for an upcoming network procedural.

Grade: C+

The Debt

3 Oct

Title: The Debt
Year: 
2011
Director: 
John Madden
Writers: Matthew Vaughn, Jane Goldman and Peter Straughan, based on the 2007 Israeli film written by Assaf Bernstein and Ido Rosenblum
Starring: 
Helen Mirren, Sam Worthington, Jessica Chastain, Ciarán Hinds, Tom Wilkinson, Marton Csokas, Jesper Christensen
MPAA Rating: 
R, some violence and language
Runtime: 
113 min
Major Awards: –

IMDb Rating: 
7.2
Rotten Tomatoes: 
78%

The talent that assembled for The Debt was enough to get me excited about it, the director is John Madden, who directed Shakespeare in Love which I love; the screenplay, based on an Israeli film, was done by Peter Staughan, who did The Men Who Stare at Goats as well as the much-hyped upcoming adaptation of John le Carré’s Tinker Tailor Soldier Spy, and by writer/director Matthew Vaughn and his usual writing partner Jane Goldman, who together have written the scripts for Mr. Vaughn’s amazing Stardust and Kick-Ass, as well as the one for his superhero entry, this year’s X-Men: First Class, which I have still to see. And the on-screen talent included proven veterans like Helen Mirren, Tom Wilkinson and Ciarán Hinds, as well as up-and-comers like Sam Worthington and the ubiquitous Jessica Chastain, who’s having the most unbelievable year thanks to her turns in the masterpiece that was The Tree of Life, the crowd-pleaser The Help, this film, and the upcoming Coriolanus, Take Shelter and Wilde Salome (yes, she’s in every other awesome-looking film this year). So yes, I was psyched about The Debt.

And it really ended up being a fantastic film, one of the most solid entries in this sort of genre I’ve seen in a while, just very smartly-written and terrifically acted by the amazing cast, this gets to be just a very taut and successful spy thriller, the likes of which we really need more of nowadays. It was just an amazingly well crafted film, and through its many twists and turns you have Ms. Mirren or Ms. Chastain there to guide you through its intricate plot structure which uses a time-shifting narrative in a way I thought was just very neat as we get a decades-spanning espionage story dealing with an Israeli-Nazi score settling. In that way we get a film that’s very interested in how the truths of the past can be either amped up or dialed down by the situations of the present, and delves into the psychological and ethical complexities that many times lie within a person that has been presented as a hero.

And so Mr. Madden takes us through a story that shifts between a dark apartment in East Berlin in the mid-sixties and the bright city of Tel Aviv over three decades after that. And what we get is great, as we see the story of Mossad secret agent Rachel Singer, portrayed by Ms. Chastain during the bits set in the past and by Ms. Mirren in the present-day ones. It’s her story that drives this film the most, the one that has the key to all of the problems it poses, but it’s also the rest of the amazing cast that serve up a story full of deception that will really leave you eager to follow this one through its intricate maze. What happens is that the what happened in that Cold War-era Berlin made heroes of the three Mossad agents that were there to capture a Nazi fugitive, and three decades later the daughter of Singer and her ex-husband Stephan Gold, who was also part of the heroic trio, has written a book about their exploits, making her mother seem like some sort of courageous woman who did what had to be done in times of extreme pressure.

At the launch party for said book we see Rachel as played by Ms. Mirren sporting a grim that shows that her memories about the time that cemented her as a hero aren’t precisely something she really likes to think back upon all that much. And so the film starts hinting at all sorts of mysteries and elements of intrigue that it effectively starts developing through flashbacks that give us insight into the real story, and when the third member of the team, David, arrives, we get a hint that there’s much more to what meets the eye, and we go backwards and then forwards again, learning more and more about the secrets that abound in this story and the consequences these have had in the people involved.

I won’t spoil some of the flashbacks or the twists, that’s for you to experience when you go see The Debt, just rest assured that even though some of the turns this one takes are super ambitious, they’re always executed to perfection by a cast and crew that are tremendously skilled at what they do, with Mr. Madden keeping both timelines moving like crazy at a great pace going forward to their inevitable and climatic clash, with a cinematography by Ben Davis (who also did Kick-Ass and Stardust for Mr. Vaughn) that’s beautiful and with a cast full of people that are just amazing. I mean, seriously, Ms. Chastain and Ms. Mirren at times actually seem like they’re playing different characters and not the same person, and even though that can be problematic, it doesn’t take away from the individual achievements of their specific performances, Ms. Mirren playing a more stoic version of a character that’s played by Ms. Chaistain as someone with a bit more pizzaz in a way. Ms. Chastain, by the way, deserves every good thing that’s being said about her in this, her stunning breakout year, she’s the real thing.

I really recommend The Debt, it’s not some sort of masterful espionage thriller, but it has a lot of outstanding elements that were wonderfully created. The whole moody and dark sort of approach at the themes of guilt and the ambiguity that can be found in the morality of this tale are really good. And it’s not just about that, as this film cranks up the adrenaline more than a few times and delivers action sequences that are masterfully choreographed and really makes the action parts of it match the intellectual qualities it possesses. I do believe, however, and this is pretty much the only considerable problem I had with the film, that by paying too much attention to all of these clever twists it gave us, it sort of bypassed a lot of the juicy political and emotional stories it could have delved further into. And that’s a problem for me, especially considering it had the cast that it had, because, no matter how clever and entertaining this was, it could have been more.

Grade: B+

Last Night

10 Jul

Title: Last Night
Year: 
2011
Director: 
Massy Tadjedin
Writer: Massy Tadjedin
Starring: 
Keira Knightley, Sam Worthington, Eva Mendes, Guillaume Canet
MPAA Rating: 
R, some language
Runtime: 
90 min
Major Awards: –

IMDb Rating: 
6.6
Rotten Tomatoes: 
50%

Keira Knightley and Sam Worthing star as Joanna and Michael in Last Night, a married couple who live in a pretty swanky New York loft, with good jobs and a life together that seems as pretty close to ideal. However, we’ll see that it’s not really all that perfect, as in a night the two spend apart they are tempted an old flame from her past resurfaces and he is tempted by a colleague which introduces temptation into the scenario. And the cast is incredibly strong, and that’s why I think this film worked as well as it ultimately did, I mean Keira Knightley is certainly one of my favorite actresses and I loved her here, and alongside her are Mr. Worthington, Eva Mendes and Guillaume Canet, so that’s a very handsome and talented foursome writer-director Massy Tadjedin had to work with, not to mention that her script was really nicely polished and provided them really nice material for these actors to work with.

The one thing that I will say about Last Night that prevented me from really falling into it and giving it an A-range grade was the fact that the screenplay was maybe too polished, I mean, the script by Ms. Tadjedin is tremendous in all the little things it so wonderfully manages to unearth as far as the basis of a relationship goes, and how you can become quite suspicious of your significant other, but I felt it sometimes lacked some of that gritty and human realism, and that because the script was so nicely thought out it lacked that sense of the unexpected. But that’s just me nitpicking, because this film is still pretty damn good, when you see how Ms. Knightley’s character looks at Laura, a colleague of Michael’s played by Eva Mendes, who can’t keep herself from flirting with him, you get so much from just that look, all of the unsaid verbal things that can be said with that suspicious look, and which come boiling out later on when she confronts Michael and accuses him of infidelity.

Michael goes on a business trip with Laura, actually, and as he does Joanna bumps into Alex in the city, an old love of hers played by Guillaume Canet. And the precision with which this film is written is fantastic, as we follow these parallels of extramarital flirtation going on in two different cities, and we get a kick out of the will-they-or-won’t-they game played by these characters, but beyond all of that there’s a far more fascinating meditation on adultery not as a concept about having sex with someone that’s not your significant other, but the purpose it serves in the lives of the couple, like Michael says at one point in this film: “You can be happy and still be tempted.” And I liked seeing this sort of spare and yet very thoughtful approach to the basis of a relationship, I liked it because Ms. Tadjedin very wisely reserves to pass on a judgement on their characters, not really denouncing one more than the other, you get to judge for yourself. And, for my money, you just can’t help but think Joanna and Alex belong with each other, wrong as it may be, the chemistry between Ms. Knightley and Mr. Canet made for some tremendous moments in this film.

This is sort of a film I’d watch in a night alongside Closer and Before Sunrise or something like that, because much like those excellent films I think Last Night provides a very insightful look at the riddles of the heart and the emotions that come hand in hand with them, even when the film feels a tad indulgent, you can’t help but really connect to these characters and situations, and feel drawn in by the look it provides into subjects like adultery, jealousy and just the quarter-life crisis as a whole. Because it’s not often you get a film that draws such perfect lines and intersections with its characters, characters who, tormented by the thought as they may be, acknowledge the fact that they can certainly think about being in a relationship with someone else and be just as happy, if not happier, than in the one they are currently in.

Please do go check out Last Night, I know it may feel a bit too indulgent at times, and you may get exasperated by how talky it all is, but it has to be this way to tackle in such a full-frontal way the very grown-up issues it does. Yes, the script may be a bit too polished in my opinion for the film to achieve a more sublime level, but because it is this polished and thoughtfully drawn up it manages to perfectly ask the questions it does, to take a look at the institution of marriage, to take a look at what would happen if we always acted on our desires as fleeting and human and carnal as they may be, and even though the answers it gives or the thoughts it presents may not always feel perfect, they’re always interesting to chew on, and with a quartet of performances like the ones we get from these four actors that makes for one very good film indeed.

Grade: B+

Kick-Ass

12 Jul

Title: Kick-Ass
Year: 2010
Director: Matthew Vaughn
Writers: Matthew Vaughn and Jane Goldman, adapting form the comic book by Mark Millar and John Romita Jr.
Starring: Aaron Johnson, Christopher Mintz-Plasse, Chloë Grace Moretz, Nicolas Cage, Mark Strong
MPAA Rating: R, strong brutal violence throughout, pervasive language, sexual content, nudity and some drug use – some involving children
Runtime: 117 min
Major Awards:
IMDb Rating: 8.2
Rotten Tomatoes: 76%

This was one of the films I was anticipated the most this year, the buzz surrounding it was surreal, and, when the moment of truth came, I actually found myself loving Kick-Ass just as much as I first thought I would, which is saying a whole lot, and I love it when films live up to their hype for me. I am a huge huge fan of the comic book, and I relate to the main hero so much it’s unbelievable, and I’m obviously not alone in saying that, after all, what teenager doesn’t dream to be a superhero?

Kick-Ass is outstanding, really. Yes, it’s hugely violent and the best violence in the film is done by a pre-teen girl, but that’s part of what I love about this film, because it tackled that by being calculating, and by being really self-aware, and that’s a quality these type of films all need and most lack, a film like this needs to know what it is and not pretend to be something else, even if the pretension is accidental. The aforementioned pre-teen girl is the best part of a film with a lot of great parts, she’s played by Chloë Grace Moretz, and she kills people and she uses so much cuss words in such great ways she would have looked right in place in Pulp Fiction or some other cool Tarantino film, and yes, talking about Tarantino films I guess this one does have a bit of Kill Bill in it.

Moretz is Hit Girl, who learned her superhero skills from her daddy in what has to be one of the best parenting role models ever in film, her dad (Damon by day, Big Daddy when kicking ass) is played by Nicolas Cage who in this film does what he does best, which is to give a hugely entertaining, high-octane, no holds barred performance, and he rocks the shit out of Big Daddy, he’s just great in this one, both Mark Whalberg and Daniel Craig were considered for this role before he got it, and while I like those two actors as well, this film wouldn’t have been nearly as great had they gotten it. Plus, Nicolas Cage is a huge comic book fan, like, seriously huge, and the influence of comic books is incredible in this movie, that’s another thing I love so much about it, Big Daddy talks like Adam West’s Batman, the Red Mist characters quotes the Joker, there are references to Watchmen and The Spirit and to a Robin comic and the obligatory use of the “great power comes great responsibility” quote form Spider-Man, albeit implying that with no power comes no responsibilities.

The movie starts with Dave Lizewski, played by Aaron Johnson a British actor who’s pretty good at concealing the accent, he is the aforementioned teenager who we all relate to that wants to become a superhero, he goes online and buys a costume, adopts the film’s name as his superhero moniker and goes to street to fight crime and subsequently goes viral on YouTube, then he gets the attention of Hit-Girl and Big Daddy and the attention of Frank D’Amico, the millionaire villain of the story who has a teenager himself, who’s played by Christopher Mintz-Plasse, who will then adopt a superhero personna himself to try and impress daddy.

I really like the directorial style of Matthew Vaugh, too, a British filmmaker who also adapted the screenplay form the comic book along with Jane Goldman, he really knows how to do this stuff really well, the grotesque violence while at the same time not making it dark and keeping it light and funny, and he also deals really well with the complexities of his characters, especially when we dig into the backstory of Big Daddy and Hit-Girl, it’s a great and emotional ride this one, and it works so well because Cage and Moretz have ridiculous chemistry, it works so well in fact, that I doubt anyone liked the main storyline, that one being Dave’s, better than this one, because this is what makes the film stand-out, the discovery of a seriously bright young star in Moretz and the enjoyment we get of seeing Cage rocking the shit out of roles, this guy has been in bad movies the past decade, but when he’s good he’s seriously good.

The sequel to Kick-Ass has already been greenlit, and I can’t wait to watch it, what I can’t wait to watch either is whatever Chloë Moretz does next, and according to her IMDb page that includes, excluding the sequel to this, the Let The Right One In American remake, a Martin Scorsese film, a Seth Gordon film, roles alongside the likes of Sam Worthington, Jessica Biel and Jeffrey Dean Morgan, and this one compilation of comedy shorts that has an unbelievable cast and which I actually didn’t knew about before writing this but that sounds pretty damn orgasmic. But, seriously, I loved Kick-Ass, and I enjoy it time and time again when I rewatch it, many critics have been negative about it, many people have complained about Moretz and the violence and swearing seen from a pre-teen, she was eleven when she filmed this one and used the word “cunt” among many other expletives all too freely and awesomely, but to me that just added to the fun of it all, I fucking loved her kicking the shit out of them cunts.

Grade: A

Clash of the Titans

11 Apr

Title: Clash of the Titans
Year: 2010
Director: Louis Leterrier
Writers: Lawrence Kasdan, Travis Beacham, Phil Hay and Matt Manfredi, adapting from the script of the original 1981 film by Beverly Cross
Starring: Sam Worthington, Mads Mikkelsen, Alexa Davalos, Danny Huston, Gemma Arterton, Pete Postelthwaite, Ralph Fiennes, Liam Neeson, Polly Walker, Kaya Scodelario, Nicholas Hoult, Agyness Deyn, Natalia Vodianova
MPAA Rating: PG-13, fantasy action violence, some frightening images and brief sensuality
Runtime: 106 min
Major Awards:
IMDb Rating: 6.4
Rotten Tomatoes: 31%

Clash of the Titans is a nice remake, it’s not a good one, but when seeing it you know that Leterrier has seen the original 1981 film and loves it and wanted to do it right, in that sense he does, because you do sense it’s an affectionate remake, but it’s not, however, a good film.

The mortal people of Argos have had it with the gods up there in Olympus and have recruited Perseus, played by Sam Worthington, a demi-god son of Zeus and a human woman, they have recruited him to start a revolt against the gods, which the gods will obviously try to put down.

Clash of the Titans is obviously not as much about the story as it is about being the action blockbuster that is, as its the standard for these films nowadays, also available in 3D. The thing is, this film wasn’t shot in 3D, it was converted to it later in post-production, and if you know me you’ll know I’m not huge on 3D in most cases, and in this case I hated it because it wasn’t even meant to be shown in 3D, it was an afterthought from a studio that wanted to make more money.

But nevertheless, the action sequences in 2D are technically outstanding and the kraken was beautifully done, and I’m a fashion junkie, so seeing Natalia Vodianova and Agyness Deyn show up for small roles was an extra treat.

I could go on telling you about the plot, but it’s irrelevant, this is all about the action scenes, it’s all about the craftsmanship of it all, how convincing they can make the kraken and Andromeda and everything else in between, and to be fair they do make them quite nicely, but the film itself is entirely silly, the acting is completely stale even if they do have Neeson and Fiennes on board, but who cares, nobody will go to a film called Clash of the Titans to see Oscar-worthy interactions between Hades and Zeus. So yeah, I do kind of recommend it if you like this sort of stuff, just do yourself a favor, don’t pay the extra $5 for the 3D.

Grade: C-