Just because we haven’t had enough of sequels and reboots already, Warner Brothers felt it necessary to push out a remake of the 1981 film of the same name into a spring season desperately lacking in good action material. Not that the original adaption of the Perseus myth was much good either, but it is fondly remembered by some for Ray Harryhausen’s quite excellent puppeteering effects. For the remake, the monsters of ancient Greece would be created in the computer, and Warners appointed director Louis Leterrier (The Transporter), assembled a cast with considerable talent and invested significant buck that included a late conversion to 3D to cash in on the post-Avatar hype. On arrival however, it quickly became apparent that the film would fail to fulfil even the lowest of expectations and come to represent the very worst that Hollywood has to offer. It is, to apply mythological rationale, a scourge of the underworld.
Perseus (Sam Worthington) is raised by the fishermen (Pete Postlethwaite and Elizabeth McGovern) who found him with his dead mother, unaware that he is in fact a Demigod, the son of Zeus himself (played by Liam Neeson). After they are killed, Perseus finds his way to the city of Argos, the population of which are angry with the endless squabbles of the Gods. Angry at loosing the humans’ love, Zeus sends Hades, God of the underworld (Ralph Fiennes) to threaten the city. If the king’s daughter Andromeda (Alexa Davalos), whose beauty has been compared to that of Aphrodite, is not sacrificed in three days, then Hades will unleash the most terrible beast he has created, the Kraken. After learning of his true lineage, Perseus leads a band of warriors that includes Mads Mikkelsen and Liam Cunningham to exploit a possible loophole in Hades’ plan and thus save the city. There’s a bunch of other stuff, but it doesn’t really matter because it’s all just an excuse to cue one battle and action sequence after the other. Forget such worn out things as plot twists, clever dialogue or, dare we imagine it, character development, “Clash of the Titans” doesn’t need brains, this is about brawn, sculpted abs and overblown action. In many ways it’s masquerading as “Transformers” with mini-skirts, steroids and scorpions but on examination, Michael Bay’s flicks are highly intellectual stuff compared to this.
Not only is the action exceptionally brainless, as it’s presented without any cohesive flow, construction or narrative, the film presents a mish-mash of bits taken from different (and often more accomplished) films: The scorpions and their masters bear resemblance to the Oliphaunts in “The Lord of the Rings” while several gags and of course the Kraken are blatantly borrowed from “Pirates of the Caribbean.” The Kraken may be a genuine feature of mythology but its implementation in the latter was infinitely more frightening than some of the shoddy CGI and green-screen work on show here. Furthermore, the film becomes an exercise in wasting as much acting talent as possible. Imagine the possibilities with two masters like Liam Neeson and Ralph Fiennes on screen as arch enemies Zeus and Hades. Similarly Sam Worthington, complete with buzz-cut and Australian accent delivers a performance that is so cold he may as well have been turned to stone by Medusa. Never, not once does he, or the screenplay for that matter, make any attempts at believable exposition. And Gemma Arterton’s Io is about as interesting as the lacklustre conversion into the third dimension. What, beyond the promise of a large cheque would force these actors to take on projects like this, is beyond comprehension. A disaster like “Clash of the Titans” simply isn’t worth wasting your time, because not only does it show disrespect for the original (a poor thing in any remake), it is in effect giving the finger to the viewer who was dumb enough to see it. After all, it made Warners over $150 million at the box office. There are dumb action pictures that are well made and entertaining, this is a dumb action picture that is badly made and the most unbelievable bore.
Originally set to score “Clash of the Titans,” was Scotsman Craig Armstrong who had worked with Leterrier before on “The Incredible Hulk,” and who was in desperate need of such a large-scale film to show off his talents. As is the way in Hollywood however, Armstrong’s music was rejected at the last minute, making way for yet another of Hans Zimmer’s Remote Control offspring. Ramin Djawadi and a team of ghostwriters provide a score that is just as cheap as the film, hammering out the same sound prevalent since “Crimson Tide” way back in 1995. Quite apart from the fact that the sound of electric guitars (a “collaboration” with Massive Attack’s Neil Davidge features) and synthesised bass has nothing whatsoever to do with ancient Greece, this music is just a cheap and botched repackaging of a familiar sound, more headache-inducing than everything that went before with the exception of Djawadi’s equally obnoxious “Iron Man.” There’s no point describing anything about it, you can listen to “The Rock,” “Armageddon,” “Transformers” and “Pirates of the Caribbean” and you won’t notice the difference.
To call “Clash of the Titans” poor fare is very much an understatement. You’ll be glad to know that sequels are already in the works so we’ll only have to suffer through the same again twice more. Somewhere in the film’s flabby middle, and in a small attempt to insert a witty line, Liam Cunningham is asked how old a certain creature might be. His reply: “I don’t care.” And neither will you.
I suggest you never see this film. If however you did happen to like it, please leave a comment and tell me why I’m wrong. Feel free to follow me on Twitter or share this review with your friends. Just hit the buttons below. Thanks and all the best!