|Starring||Sam Worthington, Liam Neeson, Rosamund Pike, Ralph Fiennes, Toby Kebbell|
|Release||30 MAR (US) 30 MAR (UK) Certificate 12A|
But I’m getting ahead of myself. What’s obvious at the start is that this is presented as a more mature sequel to the original. Worthington's Perseus is now a dad himself, vowing to protect his son from the matters of gods and titans. But, in a twist, Daddy Zeus now needs his help, as the snidy Hades plots to raise Kronos, a lava-like monster who is in fact the father of all the gods. As a result of his plans, the world is pretty much coming apart at the seams.
And here we have several issues already: How can Zeus – the ruler of the gods – need help from Perseus? In what sense is it possible for the gods to have a dad, let alone one that is a giant Volcano beast? How did Zeus get duped by Hades again? He’s the GOD OF THE UNDERWORLD - this hardly screams ‘trustworthy’. Of course, these kinds of questions are part and parcel for a film of this kind, but when the rules aren’t explained properly, the flawed reasoning will nag at you throughout. Take Perseus for example – he’s half man, half god and acts like he is mortal, and yet he goes through more physical punishment than anyone could actually stand. On more than one occasion, his head is slammed through concrete pillars. So is he invincible? Is he just a bit strong? At what point is he actually ‘risking his life’?
And the other problem with rule-fudging is that every life-threatening situation no longer seems serious because, inevitably, there’ll be some lazily written magical solution. After a big build up to entering a mysterious labyrinth – which is teased as a surreal head-twister by an admittedly brilliant Bill Nighy – Perseus actually escapes by sticking two sorcery sticks in the ground. These apparently have the power to transport him to the next scene, and I doubt even Zeus knows how or why.
Overall the film does have high points. Toby Kebbell steals the show as Agenor, a kind of comedy sidekick to Sam Worthington’s po-faced hero, who achieves the difficult job of providing genuine humour to a film that is otherwise laughably pompous. Also, some of the special effects really are magnificent – brilliantly designed monsters seen in utterly stunning 3D. But when there are enough retarded moments to make yet another list of logic farts, this sequel ends up being just as dumb and protracted as the first film.
|+||Steve Jobs (15)|
|+||The Lady In The Van (12A)|
|+||Fathers And Daughters (15)|
|+||The Hallow (15)|