I owe Gal Gadot an overdue apology. When the news first broke that the Israeli model-turned-actor had won the role of Wonder Woman, I was quite dismissive. My heart had been set on Gadot’s Fast and Furious 6 costar, Gina Carano, a former MMA fighter who displayed a natural screen presence. I apologize for not thinking the relatively slim Gadot had what it takes to fill out Diana Prince’s wonder boots. I just couldn’t see it, and that’s an error of imagination on my part. When Gadot made her debut in 2016’s otherwise abominable Batman vs. Superman, she was one of the few high points, granted she was only there for like fifteen minutes. My concerns were abated but could she hold her own film? After 140 minutes of consideration, I can declare that Gadot is a star and a terrific Wonder Woman. The rest of the film is pretty good though not up to her wonder level.
Diana (Gadot) is an Amazonian princess living on a mysterious hidden island ruled by ageless female warriors like Hippolyta (Connie Nielsen) and Antiope (Robin Wright). One fateful day a downed airplane crashes close to their shore. Diana rescues the pilot, Steve Trevor (Chris Pine), and is fascinated to learn he is a man. The Amazonians are distrustful of a man in their land. He warns them about the “war to end all wars” going on that threatens the greater world. The Germans are developing a powerful chemical weapon thanks to the treacherous Dr. Poison (Elena Anaya) and Luddendorff (Danny Huston). Diana decides she cannot stay idle. She leaves her home and travels with Steve to London and eventually the the European Front. Diana is certain the one responsible for the global conflict is none other than the god of war Ares, who will stop at nothing to annihilate mankind.
Wonder Woman is an entertaining, empowering, and engaging Golden Age superhero throwback that manages to be the best the DCU has had to offer. This is the movie many fans have been waiting for. Wonder Woman’s structure and tone feels like what would happen if you crammed together Marvel’s Thor and Captain America: The First Avenger. It’s got the ancient mythological society that is separate from mankind. It’s got the fish-out-of-water comedy of a god traveling to the world of man and trying to make sense of our clothing, customs, and backwards gender norms. It’s also set during a world war far in the past and resonates with handsome period-appropriate production values. The comedy aspects are surprisingly restrained; the fish-out-of-water jokes are mostly deployed during Diana’s first encounter with Steve’s secretary, Etta (Lucy Davis). The humor goes a long way to help coalesce the varied tones, tying the campier elements with the more serious war backdrop. It’s a movie that recognizes, at long last, that the DCU can actually be fun. The lighter tone works as well to establish the charming dynamic between Diana and Steve. There’s a screwball comedy feel that gracefully comes in and out, allowing Pine (Star Trek Beyond) to be simultaneously amazed and flat-footed at his ever-increasing crush’s agency. They make a winning pair and there are several moments that are funny, touching, and lovely between them that made me smile.
Gadot (Keeping Up with the Joneses) is a wonderful lead and delivers a star-making turn. She draws you in immediately. Gadot succeeds as a cultural icon come to colorful life. She succeeds as a comic actress bemused and wary at the era’s gender politics. She succeeds as a dramatic actress able to convey the emotions of doubt and torment. But most significantly she succeeds as a person overcome with the sheer thrill of self-discovery. There’s a moment where Diana takes a flying leap to grab a stone tower’s ledge. She grabs it but the ledge breaks and she starts sliding down the face of the tower. She stops her downward plummet by punching her own handhold. She then punches another. Gadot’s face lights up, taking in the sheer scope of her personal possibility. She launches herself up the face of the tower, more determined and blissful than before. Gadot’s greatest strength is her capacity of expressing Diana’s growing sense of self. Her ongoing declaration of agency is given a welcomed and fitting action-movie cool treatment.
Director Patty Jenkins (Monster) acquits herself impressively in the world of big-budget action. The first action sequence involves ancient Greek femme warriors against German soldiers, and it’s awesome. Watching the galloping horses and gilded warriors confidently mow down the enemy soldiers is a primal joy. Jenkins pleasingly frames her action sequences and uses judicial cuts, keeping an audience oriented through the duration. It’s action you can comprehend and relish. Jenkins has a great command of her visual space and how to sell the bigger moments. We don’t see Diana in her full Wonder Woman regalia until an hour in but when it comes it feels like a big screen moment decades in the making. Diana gets her deserved heroic entrance. Jenkins color palate follows the gun mettle grays of Zach Snyder’s pre-established diluted color scheme, but the less oppressive tone makes it feel less dreary. Something of interest is also how little her camera sexualizes Gadot, who is by all accounts a stunning human being. Given Wonder Woman’s costume, her creator’s kinky origins, and the generally prevalent practice of the male gaze, I would have assumed there would be certain moments to highlight Gadot’s physical assets. The movie does so but it highlights her strength and fortitude rather than her curves. Her femininity isn’t tied into how her body looks to appeal to men. It’s about what her body can do and often to the immediate threat of men. She does get a couple killer evening gowns to wear but her sword is tucked away behind her shoulder blades, a powerful reminder that she’s no man’s sexual object.
With all that said, the praise is a bit over pronounced for Wonder Woman, because while it is clearly head and shoulders above the other DCU films, it’s still only an overall good film and not a great one. I understand that many will celebrate a big-budget action showcase for an idol of female empowerment, but I don’t want to ignore problems either. The biggest issue for Wonder Woman is just how simplistic its characters and themes are. Diana is an interesting character but she’s not that deep. She’s following a common hero’s journey and learning about the possibilities of man, good and bad. She’s trying to understand the inherent contradictions of life, civilization, and war. There isn’t any major test she has to overcome besides a broad accepting of one’s destiny. Steve falls into the love interest/damsel role primarily reserved for women in these sorts of things. His scenes with Diana are some of the best in the movie but he’s still underwritten too. The themes of responsibility and inaction are fairly broad and kept that way. There isn’t much room for nuance. Example: Steve brings Diana into the trenches on the Front and says their destination is on the other side of No Man’s Land, the stalemate between enemy trenches. He then says “no man” two more times, as if the audience doesn’t quite get it and needs it underlined (get it: Diana is “no man”). There’s also the idea that Ares is responsible for men warring with one another to make a point about man’s nature. Minor spoilers here but, shocker, Aries is eventually vanquished and the German soldiers all act like a magic spell has been broken. They’re much more chummy and not as interested in fighting. Doesn’t this then assume that the next war, the one with the Holocaust, was all mankind’s responsibility? Aren’t we proving Ares’ point about our very volatile nature?
The supporting characters are pretty stock even by stock standards. There’s the charming Arabic soldier (Said Taghnaoui) who dreamed of being an actor, the Scottish sharpshooter (Ewen Bremner) who is unable to shoot any more, and the expat Native American (Eugene Brave Rock) looking to make a profit from war. None of these characters are given a moment to shine nor do they impact the plot in any way. Each one is given a minor characterization note but they don’t come back to them. They are robbed of payoffs. Why give the sharpshooter a PTSD-like trauma if he doesn’t rise to the occasion or explore that trauma? You literally don’t see him shoot anyone from a distance, meaning that his specialty he brings to the group is null and void. The Arab wannabe actor doesn’t get a chance to use his skill set either. Why introduce these characters and provide an angle for them if they’re ultimately just going to be an interchangeable support squad? I know they’re meant to be supporting characters but it goes to the lack of development, and less developed characters that are kept more as background figures offer a less realized world with less payoffs and a somewhat lowered ceiling of potential entertainment.
The third act is also where Wonder Woman becomes another in the tiresome line of CGI overkill. Beforehand Jenkins had done well enough to play into the already established visual stylings of the Snyderverse but the movie is eventually swallowed whole, becoming indistinguishable from the noisy, calamitous, and altogether boring climax of Batman vs. Superman. It’s another CGI monster fight with lots of explosions, flying debris, and the Snyder staple of slow-motion-to-fast speed ramps. The final battle between Diana and Ares doesn’t really alter its dynamics. They take turns punching, throwing things, and taunting one another. There’s no real variation to the fighting. This is supposed to be the ultimate showdown, a battle of the gods, and it feels so detached. Part of this is also because the film keeps the identity of Ares cloaked, which keeps the ultimate bad guy as more a philosophical presence for too long. I think the film also errs by having the actual actor onscreen for the fighting. It would have been best for Ares to have just been a CGI monster rather than what we ultimately get. I’m also unclear exactly what Wonder Woman’s powers are because all of a sudden she just seems to do stuff. This all leads to a final standoff that goes on far too long and feels anticlimactic.
There is also a moment with a mustache that needs highlighting for its sheer hilarity (oblique spoilers). There is a flashback to a thousands-year-old story, and a certain character retains a large, bushy mustache, and it took all my power not to bust out laughing at the absurdity of the image. This could have been preventable. They could have hired any younger actor. The audience would still have known who the onscreen figure was since they were narrating their own tale. They could have also just shaved the stach. Is it possible that the villain’s powers are completely linked to this item of facial hair? Is this a modern-day Samson, a cruel joke practiced by Zeus, who never could have foreseen an age where anachronistic facial hair would be celebrated with undue irony (hipsters will be the death of us all)?
Wonder Woman is going to make a lot of people happy, especially those who have been yearning for a worthy showcase not just for the character but for a strong heroine who doesn’t need romantic entanglements or a man’s approval. Celebrate the big screen outing befitting the biggest female superhero in comics’ canon. Gadot is a genuine star and has a charming and capable sidekick with Pine. The action is enjoyable, the humor keeps things light enough to blend the different tones, and the stylistic choices from Jenkins keep the movie fun for all ages and genders. It’s a celebration of a woman’s might and not necessarily how she looks in her star-spangled mini-skirt. It’s a relative bright spot for the otherwise dreadful, dark, and dreadfully serious DCU, though I still cannot muster any hope for Wonder Woman’s next appearance, Snyder’s Justice League. With all of its virtues and entertainment, Wonder Woman still suffers from some poor development decisions and a lousy final act that hold it back from true greatness. It’s a good movie, but walking away, I couldn’t help feeling that even the best DCU movie (thus far) was about lower middle-of-the-pack compared to the mighty Marvel Cinematic Universe. Wonder Woman is a considerable step forward in the right direction but there’s still many more left to go.
Nate’s Grade: B
The 2010 Clash of the Titans made some sizable sums of money but it really became famous for one reason – the beginning of the 3D fleecing and the public’s souring on what was supposed to “save the movie going experience.” Clash was converted to 3D in post-production, and its lack of foresight and rushed conversion showed. After the high of Avatar, it only took approximately three months for the public to feel ripped off by 3D. Certain Hollywood bigwigs are concerned that bad 3D conversions will kill the golden goose, and it is having an effect. The percentage of movie audiences seeing big releases in 3D has slipped steadily from 2010. Whether it is the added cost or the underwhelming conversion, movie audiences are warier of the third dimension. And it was Clash of the Titans that destroyed a nation’s innocence. Two years later, the sequel is out and, surprise surprise, you also have the ability to see it in 3D. Either way, this movie will cause you a headache.
In the wake of Perseus successful slaying of the Kraken, he is now a widower with a young son, living their lives quietly, trying to avoid the daring heroics of his earlier life. Fat chance, kid. The gods are at war, particularly Hades (Ralph Fiennes) and Aries (Edgar Ramierez) versus Olympian head honcho Zeus (Liam Neeson), Perseus’ absentee father. The titan Kronos will be unleashed from his prison, Tartarus, and this powerful behemoth will lay waste to the armies of mankind. The gods have grown weak due to mankind’s dwindling faith, and as such they cannot conquer Kronos without the help of man. It’s up to Persues, Queen Andromeda (Rosamund Pike), and Poseidon’s demigod son a (Toby Kebbell) to track down the right magic artifacts to take down Kronos.
Once again we have a threadbare story that involves running from one location to another to find a clue that leads to the next location; the plot is just a series of magic-item gathering missions, much like a video game. Greek mythology made regular use of magic weapons to slay great monsters, but the myths at least gave their audience heroes worth fighting for. Worthington’s scowling rendition of Perseus is a bore, and giving him a son doesn’t help much. Just because the guy keeps insisting he has someone to protect doesn’t fill his void of characterization. He’s so free of charisma, so gruff and without any defining personality, that you wish he could find some magic shortcut to find his dumb magic items faster. The whole setup with our villain is also vague, beyond the very specialty of the god in question. And then there’s the whole concept of the gods dying, which was also featured in last fall’s glorious-to-look-at-but-empty-on-the-inside Immortals, another cinematic tussle with the titans. What’s the point of being a god anymore if the defining quality, immortality, can be ripped away? I suppose the screenwriters wanted to raise the stakes when Zeus and other gods enter the fray, dangling the threat that they too could perish. “We may not have weapons, but we’ll fight how long we can,” Zeus declares with modesty, and then he proceeds to zap enemies with lightning bolts. I don’t think a club is going to outrank a giant projectile of electricity. Realistically, I think the whole death-of-the-gods angle, which cold have brought some real somber and existential weight to the film, was just a setup to allow the producers to recast future sequels with less costly actors (goodbye, Neeson and Fiennes; they’ll be no more Kraken-releasing for either of you).
Director Jonathan Liebesman (Battle: Los Angeles) isn’t going to wow anybody with his addition to cinema, but he can put together a serviceable sequence of action. My favorite sequence in the entire film is when Perseus and crew enter the underground maze of Tartarus. The stone walls are constantly shifting around and the characters are zooming all around the room. It reminded me of the moving staircases in the Harry Potter world or think of it as the real prequel to Cube. And yet, even this nice sequence is limited because Liebesman and the screenwriters don’t take full advantage of their situation. We have a constantly shifting three-dimensional maze, and nobody gets lost at all? And the heroes, after discarding the map, easily find their way to the other side? What kind of design flaw is that? Liebesman prefers a lot of handheld camerawork and low angles, which can be jarring at times. Worse, the action favors a visceral chaos rather than steady development. There are plenty of people dying, columns exploding, fireballs tossing, but little of it adds up to much. It’s all disparate shots, like every character is in a separate movie. Such a shame because the special effects are rather good. If you’re going to spend this kind of money on a Greek mythology spectacle, at least make us care beyond a “fire pretty” level of tepid enjoyment.
The movie is in some breech of false advertisement since the title clearly states a plurality of titans, but by my modest account we only really have one titan to deal with, the giant lava beast Kronos (do the smaller creatures and Cyclops count as titans? I doubt this). Now we all love how fire looks, though some love it a bit too much. And lava itself has long been a childhood adversary. Who amongst us has never pretended the floor was once lava and but a handful of couch cushions were the only stepping-stones to safety? It’s hard to get an exact feel for how massive Kronos is considering he emerges from a mountaintop and seems to extend even higher into the sky. It’s intended to be a threatening and horrifying sight, but I kept thinking of a Marine ad from the 1990s where prospective recruits displayed their mettle by combating giant lava creatures (“Marines: Keeping the U.S. safe from lava men since 1916”). Instead of being awed by Kronos, I started picking apart the logistics of being a lava man. I suppose when you’re a god, or a titan for that matter, you don’t have to really eat or drink or do the things we mortals must for sustenance. But how does a lava creature work when part of his fiery M.O. is how drippy and malleable he can become? Perseus flies into the mouth of the lava beast but why does a beast, which needs no food or drinks, even needs a mouth? It’s not like this guy is speaking beyond a ground-shaking mumble. The entire face is almost superfluous. It’s not like a lava creature has eyes or a working circulatory system. Now I could apply these same annoying ticky-tack questions to any monster or mythological creature. The reason I did this is because the monster of monsters is no more intimidating, or satisfying, as the array of giant monsters that Godzilla would fight (or for you youngins – the Power Rangers). When your ultimate bad guy, and lone titan, can just as easily be blown up in the same manner as the Death Star, then we have a problem.
There’s a certain level of entertainment watching dignified actors in something so inherently campy. Neeson (The Grey) and Fiennes (Harry Potter and the Deathly Hallows: Part Two) are a long way from their Shindler’s List collaboration. The two men lend a level of gravitas to a movie that is leagues below their talents. Perseus proves to be such a dull demigod, that I wish the entire movie had followed the warring gods instead. That approach would have been much more interesting considering that they must confront mortality. Worthington (Avatar) still has a notable screen presence in the realm of action cinema, but his constant scowling is just getting tiresome. Hollywood, give this man something to do other than scowl and he may surprise you, like in The Debt. Pike (Doom) is unconvincing as a warrior princess, and her forced romance with Persues could not be more contrived (did somebody say, rebound?). The best actor in the movie is Bill Nighy (Underworld) who shows up as a daffy version of Hephaestus, the god of metallurgy and blacksmiths. Nighy understands how completely cheesy the whole getup really is and delivers a performance on the comic wavelength that the entire movie should have held.
While not nearly as humorless and joyless as the 2010 edition, Wrath is still a fairly block-headed romp through the noisiest parts of Greek mythology. After two movies with “titans” in the title, it’s somewhat remarkable that we only witness one single titan in the entire combined 245 minutes. It’s all CGI sound and fury with little cohesion to make anything feel important, despite huge mythological creatures demolishing cities. From an action standpoint, Wrath packs enough serviceable, escapist sights for the eyes to please diehards of Greek mythology and genre fans with low expectations. I wish there was a more compelling reason to run through all this stuff than big monsters needing to be killed; this hero’s quest needs more motivation or at least a grander sense of awe. The demise of the gods due to mankind’s mounting religious doubt seems like a juicy subject that could have opened these characters up. But then the theological discussions would get in the way of people hitting made-up CGI monsters. If you like your cheese feta, then Wrath of the Titans will provide enough wrath for your bucks, though found lacking in titans.
Nate’s Grade: C
Director Tarsem Singh has only made two movies but is widely regarded as one of the finest visual artists working in the film medium. He’s made tons of commercials, which is apt because his first feature, 2000’s The Cell, felt like the world’s longest perfume ad. While amazing in its design, the movie was incredibly stupid. I haven’t seen his other feature, the more personal work The Fall, a movie that nobody wanted to make. It’s probably because they regrettably saw The Cell. Now the guy seems downright prolific, with a Greek mythology action movie in release and next year an update on the Snow White fairytale, the first shot in the Great Snow White Duel of 2012 (Kristen Stewart stars in the other, next summer’s Snow White and the Huntsman).
In 1200 B.C., King Hyperion (Mickey Rourke) is marching an army across Greece, laying waste to city after city. He’s looking for the mythical Epirus Bow, believed to be the only weapon capable of unleashing the titans, who were imprisoned after a war with the Olympian gods. Mankind’s only hope is Theseus (Henry Cavil), a strapping young lad born into low class. His real father is Zeus (Luke Evans) who keeps tabs on his spry son by posing as a wise old man (John Hurt). Phaedra (Freida Pinto) is a virgin oracle, a priestess who has been granted prophetic visions. Theseus rescues her and other prisoners of Hyperion. Together, they must find the bow and convince their countrymen to fight against the overwhelming forces of Hyperion. In the meantime, Zeus has sworn death to any god who interferes in the affairs of man and helps Theseus on his important quest.
One word I feel accurately that sums up the experience of watching Immortals is… “viscera.” This movie is obsessed with filming the destruction of human bodies in the most gloriously beautiful ways possible. The violence and gore are given an intensely operatic boost. One moment involves a god zips around the slow-moving mortals, smashing one head after another with his humongous war hammer. The scene plays out at a slower speed, allowing the explosions of glistening blood and skull to fill the screen, each a mesmerizing fireworks display of human goo. The visuals are often a balletic, phantasmagorical, Grand Guignol display of human carnage. When you watch this at home, you may need a squeegee to clean your TV. It’s mesmerizing to watch, getting lost in the painstaking yet sumptuous visuals, even when it’s buckets of spaltterific gore. There’s one scene involving a sledgehammer that’s guaranteed to make every male in the theater uncomfortably cross his legs. The final image is also memorably striking – the sky filled with thousands of battling titans and Olympians, suspended high in the air and hacking and slashing away (Grecian weather report: 50 percent chance of blood showers. Bring an umbrella).
Tarsem never skimps out when it comes to the look of his movies. Immortals looks like a living Renaissance painting; the director of photography should be credited to Caravaggio. Unlike Tarsem’s earlier films, this movie does not take place within the realm of imagination, but that doesn’t hamper the movie’s aesthetics. Taking a cue from the golden-hued Greek/Roman epics of recent year, notably Zack Snyder’s 300, the film exists in a heightened reality. We’re dealing with mythology after all (more on the specifics of that later). The iconic imagery of Greek mythology is all there, stunningly realized in lavish CGI and a production design that is frequently jaw dropping. The action sequences are resolutely exciting, with special mention for the climactic gods vs. titans battle. The gods, decked out in spiffy gold armor and capes, bounce off the walls aided by Matrix-style moves and slice and dice their wicked immortal brethren in creatively gruesome ways. It’s a thrilling sequence that almost makes you forget the movie’s catalogue of sins.
The movie plays fairly fast and loose with the Greek lore. The Theseus of legend was mainly known for slaying the ferocious Minotaur, the guardian of a great labyrinth. His father was Poseidon, not Zeus. Some versions even have Phaedra falling in love with Theseus’ son from his first wife (Theseus was a busy boy, taking after his father). These details, and more, may seem inconsequential but if they’re going to be so loose in the adaptation, why even bother keeping the name Theseus? Immortals does have an interesting albeit brief bit where the Minotaur is seen as a human warrior wearing a bull mask made of barbed wire. Short of the gods and titans, there isn’t any depiction of the supernatural occurring on Earth. The monsters and mythic creatures are absent, leaving some Greeks to question the validity of the gods. The movie takes an unexpected twist early by declaring, in a self-serious tone, that immortals can… die. It seems that the gods just discovered one day that they could kill each other. I would have liked to be there for that discovery (“Yeah, go ahead and lick that electrical socket.”). The film lays out that the titans and the gods were one in the same, it’s just that the winners of the battle of the heaven called the losers “titans.” If they’re the same then why do the titans act like feral monkey creatures and look like ashen, Hindi gods (no disrespect, one billion Hindus)? Have they simply gone wild after being locked away in such a unique prison? When they fight, the titans move at the speed of mortals, not gods. I also believe the titans were supposed to be considerably larger.
But as enchanting as the visuals are, there are still the other senses that are criminally malnourished. The screenplay by brothers Charlie and Vlas Parlapanides is about as bare-bones as you can get. It’s your basic hero’s quest, trusting young stud Theseus with finding a magic item and stopping a bad man. If that sounds plainly generic then congratulations, you’ve seen more than one movie with men in togas (Animal House does not count). Mysterious parentage? Check. Close relative that dies early to spur vengeance motivation? Check. Noble sacrifices by members of his team? Check. Eventual intervention of the gods? Check. What I just described could also have been the plot for 2010’s joyless Clash of the Titans remake. What’s up with Zeus and these noncommittal gods? He refuses to get directly involved in the affairs of man, but if King Hyperion releases the titans (should have gone the long route and unleashed the Kraken) then the Olympians are jeopardized. It seems like they have an interest in giving Theseus a mighty assist. The magic item, a bow that creates unlimited arrows when plucked back, is pretty much a forgotten relic. It gets used, I kid you not, exactly three times in the entire movie. All of this fuss over a super weapon that the characters can’t be bothered to utilize. They’d rather fight it out with a traditional bronze sword. What exactly does it mean to be immortal when even the gods can die? King Hyperion says he’ll be immortal by essentially raping a nation of women, keeping his bloodline alive for centuries (the Genghis Kahn defense, your honor). But if having kids is being immortal, I think we’re setting the bar pretty low.
The Phaedra character is so underwritten that she almost comes across as a parody of the role of women in these guy-heavy action spectacles. As portrayed, Phaedra is the definition of convenience. She doles out a prophetic vision to save the day, provides some grade-A eye candy thanks to the splendor of Pinto (Slumdog Millionaire), and even casually slips into Theseus’ bed for a deflowering (sorry guys, it’s clearly a body double). She will be haunted by visions of the future until the moment she loses her virginity. Let’s stop and think about this. Having one member of your team be able to SEE INTO THE FUTURE seems like a decisive tactical advantage. I understand the lure of a naked and willing Pinto, but Theseus needed to think beyond the needs of his little Greek. In an abrupt and off-putting turn, Phaedra is never really dealt with in any capacity after this seismic bout of lovemaking, nor do she or Theseus talk about what has transpired. She just provided some casual sex while the hero was recuperating and then checked out. Her major prophetic vision of Theseus and Hyperion joining sides is also just forgotten, turning out to be a letdown.
The actors were basically hired for their visual appeal, and to that end they succeed. Cavill (TV’s The Tudors), tapped to wear Superman’s cape in 2013 by Zack Snyder, is suitably buff and hunky. His performance is rather flat, no matter how many times he makes his eyes go big with anger. In contrast, Rourke (Iron Man 2) will chew whatever scenery he can find. His flamboyantly costumed villain at one point seems to wear a lobster claw on his head. He wants to punish the gods because they refused to intervene when Hyperion’s wife and child were slaughtered. When the gods do intervene to save Theseus, that’s when the character should go off the rails. Rourke just plays it in the same sleepy menace. Pinto gets to stare off into the distance regularly and pray. It’d be a stretch to say that the material challenges any of these actors.
Immortals is a testosterone-soaked action movie that feels like it minored in Art History. The production design, CGI, and practical special effects, all attuned to the extraordinary vision of Tarsem, makes for a brilliant looking movie with several sequences of memorable carnage. But we entered the age of “talkies” since 1927, and Immortals suffers when it concerns dialogue, story, characterization, and acting. The movie is a pretty loose adaptation of Greek mythology, falling back on a rote hero’s quest and leaving plenty of narrative dead spaces for the visuals to fill in the interest. Even a movie as visually resplendent as Immortals can only go as far as its story will allow. In this case, Immortals might just be the best-looking piece of borderline mediocrity you’ll ever see in your life.
Nate’s Grade: C+