Movieblaze

Starring: Michael Fassbender, Dominic West, Noel Clarke, Olga Kurylenko, David Morrissey

Director: Neil Marshall

Writer: Neil Marshall

Cinematography: Sam McCurdy

Original Score: Llan Eshkeri

Running Time: 97 Mins.

Neil Marshall likes to place his character’s in the bleakest of situations, and locations, take his previous three films, Dog Soldiers, The Descent and Doomsday, all see a small group trying to survive in enemy territory against all odds, when I tell you that his fourth film as director, Centurion, concerns the Roman’s attempts to conquer the Picts of Scotland you should now be able to put two and two together and guess what the plot will amount too.

This is the first of two films due this year that look at the infamous Roman’s Ninth Legion (Kevin Macdonald’s The Eagle of the Ninth being due in September), Marshall unsurprisingly sees the majority of the garrison obliterated during an ambush and their General captured, low and behold there is a small group of survivors who, led by the heroic Quintus Dias (Fassbender), set out to rescue Virilus (West) pitting themselves against a vengeful Pict, Etain (Kurylenko) and her band of feral, face painted warriors.

There is nothing wrong with a director repeating a formula, especially if said formula works, and it works well enough with Centurion, though Marshall’s last effort Doomsday was not a complete success it at least dared to try something new at times, a saving grace that Centurion doesn’t possess. That’s not to say it’s a bad film just rather devoid of any inspiration or originality of its own, the obvious comparison is Gladiator especially given the hugely similar cinematography and the always snowy vista (as seen in Gladiator’s opening), this though is not the comparison I would take issue with, rather (in the light of re-watching them recently) it is The Lord of the Rings trilogy with Fellowship of the Ring in particular that Centurion bears unflattering homage.

Structural, i.e. story based, similarities are obvious and in truth not really an issue as the charismatic group journeying across mountains and woods in search of a Macguffin is nothing new, rather it is the cosmetic influences that the scope of Centurion becomes somewhat diminished and highlight’s how far removed from the experience of Lord of the Rings rather than providing a favourable memory. Shot’s of the group trekking over mountain tops, sword-fights in woods and the gritty tussle’s against a primitive foe are in their own right not badly handled but when they inspire memories of such a grand filmic achievement the lack of achievement with the film at hand is non-existent.

Aside from unfavourable comparison though there is enjoyment to be found if you can overlook the lack of originality, the casting is top-notch utilising lesser known (but hugely talented) actors to add an air of authenticity. Fassbender adds another string to his ever-growing bow of great character parts that serve the film rather than his star status and Dominic West is, as ever, fantastic especially in the film’s stand out one on one fight with Kurylenko’s Pict warrior. Kurylenko herself also manages to make Etain a worthy foe albeit a little two-dimensional though arguably it would take a much better actress to give a word-less character any more emotion than simple menace or sadness.

VERDICT

Centurion‘s saving grace is ultimately that it doesn’t stop long enough for you to think too much, apart from misjudged romantic interlude, the action is solid if not inspired though it’s unlikely to bear repeat viewing or linger long in the memory.

Starring: Ewan McGregor, Pierce Brosnan, Olivia Williams, Kim Cattrall, Tom Wilkinson, Timothy Hutton

Director: Roman Polanski

Writer(s): Robert Harris

Cinematography: Pawel Edelman

Original Score: Alexandre Desplat

Running Time: 128 Mins.

The Ghost opens abruptly, forsaking the usual slow burn of credits over a montage or scene-setting we are thrust straight into the story with a quick “blink and you will miss it” flash of the title a ferry approaches full of foreboding and a car is left abandoned, setting us on the path of mystery and twists that the forthcoming story offers. Based on the novel, The Ghost Writer, by Robert Harris this is Polanski’s finest film since Chinatown and offers a similar premise to that classic noir leading our protagonist, and the audience, on a wild goose chase to uncover the truth behind a complex and politically bound game of hide and seek.

It is no secret that The Ghost Writer (the novel) had its roots in the Blair years, and upon watching the film the parallels are clear, abundantly so at times, but I was left wondering exactly how much of this tale was true, alas this does not matter for what The Ghost effectively does is present one of the most cerebral thrillers in years. Those expecting the Brosnan/McGregor face off that the poster suggests will be left disappointed though, this is McGregor’s film and he carries it with aplomb. Reduced to the Blair-like role, Pierce Brosnan’s ex-PM Adam Lang is all cheesy smiles and pent-up bursts of rage, you never quite know what the man is really thinking…sound familiar?

Hired to re-write (Ghost, is the term) Lang’s memoirs following the death of the previous Ghost is McGregor’s unnamed replacement, McGregor is an actor who seems to be finally capitalizing on his talent after too many duff roles, following the out-there I Love You Phillip Morris with something different as a Polanski film proves a coup for the actor as it effectively demonstrates how adept he is at applying himself to hugely different films and ultimately succeeding. What makes his Ghost such a success is the sheer believability he gives the man, this is not some heroic investigative reporter and nor is he a man who especially works for the good of anyone or anything in particular, rather he is a man thrust into something much deeper than he ever expected.

It’s this labyrinthine plotting that hooks you in, yes we are seeing everything through McGregor’s eyes, but we can empathise with his choices and his actions all feel believable, especially the more extreme ones as they come replete with the sense that he is genuinely scared and fumbling in following the next lead. That said, The Ghost is not as action thriller in the slightest, the closest we get to “action” is an extended scene whereby the Ghost follows the GPS routing in the ex-Ghost’s car, an expertly played out sequence that will have you teetering on the edge of your seat in suspense.

Though this is very much McGregor’s show his relationship with Olivia William’s, Lang’s wife, is delved into much deeper than that of Lang himself, Williams is a hugely talented actress and matches McGregor’s conviction and it is in these scenes we see the frailties of each character while never reducing them to mere ciphers that simply serve the plot, always rounded, always believable it is the performances that will hook you even if it’s the story that interests. 

VERDICT

There is little doubt that the plotting of The Ghost is leant credence through its topicality, and you are likely to be left wondering what, if any, of the final outcome is at all close to the truth behind Tony and Cherie Blair, one thing I can be sure of is the expertise demonstrated by a director and actor at the top of their game throughout.   

Starring: Steve Carrell, Tina Fey, Mark Wahlberg, James Franco, Taraji P. Henson, Mila Kunis, Kristen Wiig, Mark Ruffalo

Director: Shawn Levy

Writer: Josh Klausner

Cinematography: Dean Semler

Original Score: Christophe Beck

Running Time: 88 Mins.

Hardly a glowing endorsement for a comedy this, but Date Night is mildly amusing, with the occasional intermittent burst (3 times I think!) of being actually funny, this as you may have guessed is hardly a glowing endorsement for a comedy but given Carrell’s last starring vehicle was Get Smart it’s a slight step up and for that I suppose we should be grateful. Though to be fair Carrell shouldn’t be blamed, for it is he who makes Date Night funny on occasion, the more likely to protagonist for this smorgasboard of average is director Shawn Levy.

Take the three “comedy” franchises Levy has steered to super (inexplicable I might add) success, Cheaper by the Dozen, The Pink Panther (remake) and Night at the Museum, if this director has any mark it is the ability to churn out average, and by average I mean lazy and uninspired, comedies. Not bad in the way that say Epic Movie is, simply taking potentially funny ideas and turning them into something that could be best described as “passing the time” in the most forgettable way in filmic terms, so we can now add to Levy’s roster Date Night. Not quite as lazy as his past resume but only thanks to Carrell’s natural comic timing, at the point’s that I would imagine were improvised.

So while Levy’s uninspired film-making is a mark of what to expect so to is the long list of stars in the cast, one thing the man does seem capable of is attracting some great talent, see Night at the Museum and Pink Panther for evidence of this too, Mark Wahlberg, Mila Kunis, Common, Ray Liotta, James Franco…I could go on but there is little point as each and every one of them have nothing to add to the film, Wahlberg is as amusing as the script allows which mostly relies on him being topless, while names like Ruffalo and Liotta may as well be nobodies for the sake of the seconds they are actually in the film. Why have big name cameos when you aren’t going to give them anything funny or worthwhile to do?

The plot is standard case of mistaken identity that takes in Fey and Carrell’s attempts to rejuvenate their seemingly stale/routine married life amidst flatly staged car chases and shoot-outs, the stars try hard with the little they have to work with but slapstick comedy seems below Fey, whos comedic writing talents are leagues above what Klausner is clearly capable of based on this evidence. Carrell fares better and hints at the comedian he is capable of being at his best, even if it is just a hint it offers the highlight’s of the film and without these glimmers would make for a totally pointless venture.

Date Night purports to be an action comedy, an unfortunate label given the action is almost non-existent and the comedy is just about evident, depending on your benchmark for funny. A great comedy bears being funny on repeat viewing, Date Night only just manages it occasionally on first viewing…again not the kind of reccommendation that will have audiences flocking to the cinemas.

VERDICT

Displaying the same pedestrian approach as his past repertoire, Date Night marks a slight improvement in that Steve Carrell is a very funny man and when allowed to improvise briefly ascends the “mildly amusing” whole.

Starring: Jude Law, Forest Whitaker, Alice Braga, Liev Schreiber, Carice van Houten

Director: Miguel Sapochnik

Writer(s): Eric Garcia, Garrett Lerner

Cinematography: Enrique Chediak

Original Score: Marco Beltrami

Running Time: 111 Mins.

The sci-fi genre is an odd one, with their films falling into one of two categories, those that seek simply to entertain with all their flash and bang and those that attempt to present the viewer with a message, a deep moral conundrum and something that, the film-makers hope, will really get you thinking. Sadly more often than not these “brainy” sci-fi efforts fall flat on their face failing to deliver, for every success, Blade Runner, Robocop, there are innumerable failures, some even attempt to do both with an even lower success rate and those that do succeed usually go on to be minor classics in their field, Children of Men being the perfect example of a recent success.

As you may have guessed Repo Men tries, and largely fails, to do what Children of Men successfully did, become the thinking mans blockbuster, it is a valiant effort with some great ideas but fails to either capitalise of follow through with any of them. It isn’t without flashes of greatness though and is far from an unbearable experience, the plot is high-concept, a corporation in the near future fits the dying out with new organs at a price, should said customer be unable to pay for their organ the Repo Men (which count Law and Whitaker in their numbers) will promptly recover the organs in usually the most gruesome ways possible.

Sadly what is a rather intriguing premise seemingly leaves the script-writers with no idea of an original or coherent story to construct around it, which means everything that character arcs change at the drop of a hat and everyone is merely a cardboard cut-out hampered with weak material following one-another round not quite knowing what it will lead to next and with no motive, leaving the audience with little empathy for anyone or their actions.

As I said there are flashes of greatness, a final fight scene takes Oldboy as a jumping off point and ramps it up ten-fold while a final twist ending is quite inspired if a little jarring with the rest of the film and despite the weak material Whitaker cannot fail to be watchable as Law’s conflicted partner.

As for Jude Law himself, a one-time hater of the actor I am now much more endeared to him following his turn as Watson in Sherlock Holmes, many have bemoaned Repo Men as a step back for the actor who doesn’t carry favour with many but I would rather see him as confused action man than I would as the smug romantic lead (Alfie etc.), but that’s just me. The fact is I just don’t think he is leading man material and is much better playing second figure to a bigger personality of which Schreiber and Braga just don’t cut it.

First time director Sapochnik does a good job of pointing and shooting the action but something this outlandish needed a little more flair to drive it in one direction, as it is we flirt between gore-fest (putting the Saw films to shame at times!) rough-tough actioner and the more cerebral thriller that the opening voice-over sets the film out as from the off and drops about 30 minutes in, even more of a disappointment given the promise.

VERDICT

I don’t envy the job of whoever had to market Repo Men because it is one messy film that is unlikely to please action fans (not enough) and drops the initial “big ideas” in favour of gore and a totally implausible plot, gut punch of a denouement though! 

Starring: Robert Pattinson, Emilie de Ravin, Pierce Brosnan, Chris Cooper, Lena Olin

Director: Allen Coulter

Writer(s): Will Fetters

Cinematography: Jonathan Freeman

Original Score: Marcelo Zarvos

Running Time: 113 Mins.

There is an unwritten rule that says, should you star in a genre franchise you must balance turn’s in said franchise with smaller more intimate dramatic roles, witness Daniel Craig in Flashbacks of a Fool, Tobey Maguire in Seabiscuit, Daniel Radcliffe in December Boys and Pierce Brosnan in Evelyn (who co-stars here incidentally). Often these roles are met with mixed reaction, suggesting the actor is trying a little too hard to prove he, or she, is a capable of “serious” roles.

In an obvious attempt to prove such a point is Robert Pattinson out to shirk that stereotype of the angst-ridden vampire of The Twilight Saga’s Edward. Odd then, that his turn as Tyler Hawkin’s in Remember Me is even more angst ridden albeit in a much more believable and enjoyable way, proving that the guy can, in fact, act up a storm when given a meaty script to wrangle with, and one that requires more than mere moping and glaring into the middle distance.

Teetering between family drama and love story Allen Coulter (Hollywoodland) offers further proof of his worth as a director, pacing in this type of film is hugely important as it is the kind of story than can at once become heavy-handed and slow to a snail’s pace in fits and bursts. Avoiding both pitfalls is quite some feat and the resulting film deserves credit for that alone, however there is a great deal more to be merited proving to be outstanding in both performance and story as it deliver’s a believable and hugely enjoyable film but most importantly one that will, inevitably because of its ending alone, stay with you long after you leave.

Many critics are bemoaning the heavy-handed nature  they deem the film’s final furlong to be dealing the audience, amidst claims that it is “unneccessary”, rubbish I say to remove the ending and the message that comes with it would be like robbing Saving Private Ryan of its D-Day scene or Bad Lieutenant of its New Orleans setting, simply because a historical event is important and effecting does not mean it shouldn’t be wound into a story in an appropriate way whether it be for dramatic effct or not, indeed why watch a film if you do not wish to be moved by experiences, fictitious or not, that you can empathise with on some level.

At the heart of the story are two of Hollywood’s current crop Lost‘s  Emilie de Ravin and the aforementioned Pattinson on whom the film is largely being sold, and with good reason, Pattinson is at the heart of this film and he commands the screen well with parallel’s between he and James Dean extending beyond the looks. The guy can act and very well at that, yes he is playing a troubled youngster much like his Twilight character but this is a much more layered performance with a script that allows him room to build beyond troubled seasoning his character with wry humour and a hugely likeable streak developed between Tyler and his sister showing a protective streak that you can easily empathise with.

The slow build of the romance is one of the most realistic you are likely to catch onscreen of recent years and puts such films as Dear John to shame,  but there is so much more than a love story to embrace here and I would defy you to feel touched on some level if not at the romance, then in the father/son relationship, which sees both Chris Cooper and Pierce Brosnan excel in supporting roles, or the compelling story that never goes quite where you expect, in the best and most memorable way.

VERDICT

Remember Me is a superbly acted and directed study of life, family and love, Pattinson proves what we all expected, that the guy can indeed act, but its the story and emotional sweep that will draw you in and leave u with an experience that reaches far beyond the cinema auditorium.

Starring: Channing Tatum, Amanda Seyfried, Richard Jenkins, Henry Thomas 

Director: Lasse Hallstrom

Writer(s): Jamie Linden, Nicholas Sparks (novel)

Cinematography: Terry Stacey

Original Score:Deborah Lurie

Running Time: 105 Mins.

Based on a novel by Nicholas Sparks, he behind The Notebook and forthcoming Miley Cyrus starrer The Last Song, Dear John is pretty much a sure-fire schmaltz-fest, not that this automatically marks it out as bad rather it suggests that the cinematic experience of Dear John is bound to involve long-distance romance, two ”gorgeous” actors that are flirting with the A-List and a multitude of scenes set against the sunset with a side order of passionate kissing in the rain. Expect all of this and you will most likely not be disappointed by the outcome, Tatum and Seyfried glower when they are together and mope with all the angsty yearning you could hope for when apart, usually whilst writing the letters upon which the film’s title suggests.

The problem is that it takes something of a miracle combination to make a story like this truly fly and transcend beyond its generic pitfalls, the leads are good-looking enough and make for a realistic couple but their relationship is shown in such a bleak light with little time for respite from misery and the strain of being apart. This is the mood that ends up overshadowing the whole production meaning that Dear John ends up a much more bleak an experience than necessary to tell such a story, unrequited love is hardly a subject matter worthy of party and celebration but there needed to be a lightness in parts to alleviate the depression, usually this would come from either the lead’s charm or the support characters, on this occasion though both are lacking.

Channing Tatum is a cracking actor, see Fighting for evidence of this, but he is also a man who it would seem takes himself far too seriously in matrial crying out for a little more charm and a little less self-importance (Step Up!) and is desperately in need of a sense of humour,something that is once again lost here and leaves us wondering why John (Tatum) would fall for Savanah, though Seyfried plays Savanah as a deeply cringe-worthy do-gooder both prove equally irritating. Thankfully the thrust of the story will likely hold your interest even if the bland leads don’t, and the myriad of side plots dealing with death, cancer and autism (yes it is THAT heavy) are thankfully interesting if a little hammered-home, Richard Jenkins and Henry Thomas are both great as respectively John’s father and Savanah’s best friend.

You will be unsurprised to learn that before the credits roll there is death(s), more unrequited love and a cringe-worthy closing shot with one too many unbelievably good turns done, it’s just a shame that a sense of enjoyment couldn’t be found to suggest that life and love are about more than just yearning for the one you love and painful goodbyes, though given that above Dear John’s poster title the words “from the producers of Twilight” appear you really should know where this was going all along!

VERDICT

If an all too heavy, and heavy-handed, tale about unrequited love starring two hot young leads is what you expected, Dear John delivers… and then some, though whether that is a good thing or not will likely depend on your tendencies for romanyic weepies that take themselves a little too seriously when more charm and less angst would improve the experience substantially.

Starring: Christian Cooke, Tom Hughes, Jack Doolan, Ralph Fiennes, Matthew Goode, Emily Watson, Ricky Gervais

Director: Ricky Gervais, Stephen Merchant

Writer(s): Ricky Gervais, Stephen Merchant

Cinematography: Remi Adefarasin

Original Score: Tim Atack

Running Time: 96 Mins.

To this point Ricky Gervais career on the silver screen has failed to inspire much confidence in his abilities to transport both his success and talents from television based work to something on a grander scale. In front and behind the camera he has proven to be, like most comedians, an acquired taste and while those that are fans have remained forever faithful through such self-indulgent tripe as Ghost Town and The Invention of Lying they are unlikely to ever convert any of those who find Gervais personal brand of comedy, shall we say, a mite smug!

Alas it would seem that while I am still to see the funny side to the man himself, Cemetery Junction proves that he certainly has one hell of an eye for direction and an even better skill when it comes to writing, though credit too to Stephen Merchant who it would seem is the only person capable of reigning in the more smug attributes and shape a story as acutely observed and wonderfully realised as Cemetery Junction, a film that charts the different paths of three 20-somethings in their quest for meaning in life and love whilst trying to escape from the mundane existence they have in the titular village/town.

At one stage entitled “All the Young Dudes”, after the Bowie song (which suffice to say features on the film’s cracking 70′s soundtrack), Cemetery junction follows in the footsteps of such brilliant coming-of-age tales that include Saturday Night Fever and more recently Starter For 10, obvious nods to Fever as both are 70′s-set but the difference here being that this is British through and through. Though thankfully avoiding that quaint British-ness that all too often prevails in Richard Curtis style stories, this is a film that embraces the era and setting while never at any stage slips into being simply a nostalgia-fest, often the easy-laugh route as Starter for 10 had a slight tendency to do at times.

Instead Gervais and Merchant’s screenplay delves deep into what it means to find your way in life and all the while proving to be both warm, funny and engaging, though those expecting the usual sardonic or stupid humour that accompanies the partnership’s work will be left disappointed, this is the kind of humour that has gentle digs acting as the best kind of observational humour, realistic dialogue between people is where the humour stems from. Of course if you can identiify with the story it helps but I defy anyone not to be moved by these characters and their plight, escaping from the small town is something most have either faced or are facing right now along with the dilemma of where your life is leading!

Of course great dialogue stands for very little without a great cast to deliver it, and in opting to cast largely unknown actors in the central roles an excellent choice was made for each actor becomes their character with no preconceptions about their traits, Cooke, Hughes and Doolan give performances as observed and nuanced as the script requires, even the more well-known cast members play to their strengths and transcend expectations with Fiennes and Goode suitably snooty and disregarding of their respective partners of mother (Watson) and daughter (a dead ringer for a younger Gemma Arterton).

Unsurprisingly there are some classic supporting characters, with Gervais himself even managing to play down his usual smugness as the father of one of the boys and the exchanges in the family home are classics containing dialogue that deservedly is gaining critical plaudits from most. Most surprising is how adept Gervais and Merchant are at presenting their story, direction in this kind of film is often a moot point especially if the performance and script are good but here there is real visual spark and it is shot and edited with much more flair than I ever expected to see, factor in a cracking soundtrack and some stunningly beautiful cinematography I would  even go as far as to say this is sure to go down as one of the years best, which is something of a surprise coming from a past Gervais-hater!

VERDICT

Excellent, in a word, Cemetery Junction is a wonderfully observed coming-of-age story that manages to impress in all areas, something of a shock considering who is behind its brilliance…something which goes to show some talents are best left behind the camera!   

Starring: Sam Worthington, Gemma Arterton, Ralph Fiennes, Liam Neeson, Danny Houston, Jason Flemyng, Mads Mikkelson

Director: Louis Leterrier

Writer(s): Travis Beacham, Phil Hay

Cinematography: Peter Menzies Jr.

Original Score: Ramin Djawadi

Running Time: 106 Mins.

Updating the original version of Clash of the Titans (1981) for today’s audience was, quite frankly, a no-brainer, a blockbuster premise if ever there was one that sees Demi-God Perseus, son of Zeus, face off against all manner of creatures, from Medusa, to Harpies to Scorpioks (giant scorpions) and the Kraken. Each lovingly rendered using stop-motion effects in their original form and now ripe for CGI re-imagining using the latest technology, though as we all know big-budget and effects cannot make a silk purse from a sow’s ear, this is not to say that Clash of the Titans (2010) is a disaster, more a collection of effects-heavy set pieces loosely spun together through the most slender of premises and acting that on the whole  proves hampered by the lack of characterisation.

Though it is a fair observation to say that Summer Blockbuster’s aren’t known for their acting or script the bar has been raised a touch with the likes of The Dark Knight and Pirates of the Caribbean of late, meaning we expect either a bit of plot to match the flash or at the very least a charismatic lead that transcends the pedestrian scripting. Titans offers neither of these and while Sam Worthington has proven himself a capable actor amidst a CGI backdrop in Terminator Salvation and Avatar he seems a little lost on this occasion, displaying none of the charisma that marked him out in the former and likeability that helped us through the slog of Avatar. Spending most of the film claiming he is a man not a god does little to further our empathy for him or his enhance his likeability, rather he ends up more a whiny teenager than Percy Jackson was in this film’s earlier film dealing with a considerably younger Demi-God!

Thankfully all manner of beasties are on hand to provide some respite between the lame attempts at character development (if that’s what you can call it!), episodically jumping from set piece to set piece meaning that seekers of big-dumb action will likely be impressed enough to warrant the ticket price and the budget is up there to be seen on-screen. All of the (largely) re-designed creatures are a success if not all are realised with quite the same level of success, Medusa while creepy at first looks like the Scorpion King’s better looking sister, and the harpies are too flurried to be seen in all their glory but the make-up work on the Ferryman and Stygian Witches are a highlight and the new-look Kraken is a wonder to behold.

Director Leterrier did great things with The Incredible Hulk two years ago but he just can’t reach those heights here, occasionally there are glimmers of that great eye for a set piece he displayed so well with Hulk but in an attempt to cram so much in over such a short running time with little plot to string it together you are likely to leave thinking little more than “meh, that was okay”, hardly a glowing endorsement for the “Summer’s” (a season which incidentally seems to get longer year on year in the film world) first tent-pole release.

Thank heavens then for Ralph Fiennes who in his all-too-brief screen time lights up the screen in ways that no amount of money and visual effects can. All raspy and appearing in billows of smoke to torture and torment all and sundry, his Hades is the highlight and provides the menace and danger that is lacking elsewhere. It’s just a shame that Neeson can’t match him for onscreen presence with a Zeus that is both dull and ineffective, the thought of Fiennes and Neeson sharing scenes once more is a tantalising one that sadly is only fulfilled on one side. The same can be said of the other gods, with Danny Huston near unrecognisable as Poseidon, why hire such a good actor when you are going to have them speak only one line!

A final word of warning, Clash of the Titans is being pushed as a 3D release first and foremost, do not, whatever you do, see it in 3D. A dire post-production rush-job means that this is not the “Real” 3D of Avatar or even The Final Destination but a process that has left the print blurred and incomprehensibly bad, a 3D film has to be edited differently, shot with the process in mind. Imagine the Bourne film’s in 3D if you will, it wouldn’t work and neither does this showing that while the format is proving a success in some areas (animation) it is the finest use of the format as a gimmick in others and a gimmick that makes an average film even worse at that.

VERDICT

Clash of  the Titans is a Demi-God of a Summer blockbuster, cram full of money shots it lacks a note-worthy hero and the script is lacking to say the least, thank the gods then for Fiennes as Hades lighting up the screen every time he appears elevating it to a slightly above average experience … sporadically at least.