(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Perseus braves the treacherous underworld to rescue his father, Zeus, captured by his son, Ares, and brother Hades who unleash the ancient Titans upon the world.”
Given the fact that 2010’s Clash Of The Titans – a somewhat loose remake of 1981’s popular flick of the same name – earned nearly an astonishing half billion dollars at the international box office, it was only fitting that producers would rush back to the well of inspiration for another go’round. The truth – at least, from what I’ve read – was that they’d always intended their interpretation of the Titans material to be a trilogy of films; so rushing 2012’s Wrath Of The Titans probably did the material no favors. I don’t mean that to say Wrath is an entirely inferior follow-up: its story is a bit tighter, the adventure flows less like an endless stream of action set pieces that the original did, but it ultimately has vastly less sass and sizzle to distract audiences from any narrative weaknesses.
Financially, Wrath wasn’t exactly a disaster. Prequels and sequels can be tricky business, especially given the fact that its predecessor debatably benefited from a positive reputation stemming from the 80’s Fantasy feature. Without a doubt, the hero would be heading into previously uncharted territory; and one need only glance at the diminishing returns of some Marvel spandex mutants to realize successive flicks aren’t guaranteed the same profits their earlier projects showed. On a budget of $150 million, Wrath mustered up a respectable $300 million in global ticket sales … but that’s a pretty significant drop from Clash’s $493 million gross. Allegedly, a third film – one that would’ve completed Perseus’s story – was scrapped, and that, my friends, is all she wrote.
Setting aside that clinical assessment, Wrath opens with Mount Olympus largely having fallen into disarray. Those mere mortals no longer show much interest in worshipping the gods; and – as a consequence – the powers of Zeus (again played by Liam Neeson) have begun to diminish alongside those of his immortal counterparts. Blood in the water naturally brings out the sharks, and Hades (Ralph Fiennes) – god of the Underworld – conspires with Zeus’ son Ares (Edgar Ramirez) in a bid to see our world destroyed with the release of the Titans. This way, Hades can start all over again, remaking everything into his craven image.
Meanwhile … back on Earth …
From the film’s IMDB.com page citation:
“Perseus braves the treacherous underworld to rescue his father, Zeus, captured by his son, Ares, and brother Hades who unleash the ancient Titans upon the world.”
Given the fact that 2010’s Clash Of The Titans – a somewhat loose remake of 1981’s popular flick of the same name – earned nearly an astonishing half billion dollars at the international box office, it was only fitting that producers would rush back to the well of inspiration for another go’round. The truth – at least, from what I’ve read – was that they’d always intended their interpretation of the Titans material to be a trilogy of films; so rushing 2012’s Wrath Of The Titans probably did the material no favors. I don’t mean that to say Wrath is an entirely inferior follow-up: its story is a bit tighter, the adventure flows less like an endless stream of action set pieces that the original did, but it ultimately has vastly less sass and sizzle to distract audiences from any narrative weaknesses.
Financially, Wrath wasn’t exactly a disaster. Prequels and sequels can be tricky business, especially given the fact that its predecessor debatably benefited from a positive reputation stemming from the 80’s Fantasy feature. Without a doubt, the hero would be heading into previously uncharted territory; and one need only glance at the diminishing returns of some Marvel spandex mutants to realize successive flicks aren’t guaranteed the same profits their earlier projects showed. On a budget of $150 million, Wrath mustered up a respectable $300 million in global ticket sales … but that’s a pretty significant drop from Clash’s $493 million gross. Allegedly, a third film – one that would’ve completed Perseus’s story – was scrapped, and that, my friends, is all she wrote.
Setting aside that clinical assessment, Wrath opens with Mount Olympus largely having fallen into disarray. Those mere mortals no longer show much interest in worshipping the gods; and – as a consequence – the powers of Zeus (again played by Liam Neeson) have begun to diminish alongside those of his immortal counterparts. Blood in the water naturally brings out the sharks, and Hades (Ralph Fiennes) – god of the Underworld – conspires with Zeus’ son Ares (Edgar Ramirez) in a bid to see our world destroyed with the release of the Titans. This way, Hades can start all over again, remaking everything into his craven image.
Meanwhile … back on Earth …
Perseus (Sam Worthington) has settled into the mortal life he had always wanted except for the fact that Io – after giving him a son, Heleus (John Bell) – has passed away. When these Underworld shenanigans release a hungry Chimera on his seaside village, the demigod again rises to the challenge and kills the marauding beast. Seeking an explanation for why such creatures would be loosed upon mankind, he goes in search of his father only to find the (im)mortally wounded Poseidon (Danny Huston). The god of the sea informs Perseus of Zeus’ predicament, and he offers assistance in the shape of his own demigod son, Agenor (Toby Kebbell), who can aide in the quest to breach the Underworld. Together, the two demigods must assemble the Spear Of Trium – a combination of Zeus, Hades, and Poseidon’s signature weapons – as it is the only known defense against Kronos, the leader of the Titans.
Unquestionably, Wrath benefits from having a clearly defined hero’s quest: Perseus and Agenor must join forces in their bid to both find their respective peace on Earth as well as achieve a kind of symbiotic equilibrium in their father/son dynamics. Also, the script – credited to Dan Mazeau, David Leslie Johnson-McGoldrick, and television network killer Greg Berlanti – somewhat admirably scores points in showing that not all demigods are created equal: Perseus remains the resident screen hunk while Agenor gets cast as the plucky problem solver with only a guilty knack for doing the right thing. The two make an interesting pair – a bit Abbott and Costello mythologically for those who understand the reference – and I’m glad the story dispensed with any pretense of having these two jockeying for screen time with muscles and brawn.
Also, Wrath gets an added layer of masculinity by having young Heleus along for the ride but not monopolizing what could’ve been a distracting father/son sub-plot. Given Perseus’ physical and (chosen) emotional separation from Zeus, the demigod steps capably into the role of ‘dear old dad,’ and Worthington’s efforts here appear to be at ease. Of course, things are apt to get a bit dicey once the young boy gets mixed up with gods and men, but that’s the stuff of good cinematic drama. It all works itself out nicely come the big finish.
Sadly, actress Alexa Davalos was unavailable to reprise her role in the saga, and the part of Andromeda was recast with Rosamund Pike. Clash Of The Titans saw Perseus and the queen parting ways (with a kiss) so that he could pursue a curiously forced entanglement with the aforementioned Io, but Io’s offscreen departure has the door swinging wide open again as Andromeda commands her armies to take up arms against these warring demons released by Kronos when Perseus shows up to make his stand. Alas, Pike and Worthington really muster little screen chemistry (for what it’s worth), and that cheapens what could’ve and should’ve been a wonderful reunion of the heart.
To my dismay, Wrath just doesn’t hold up nearly as well visually as Clash did. Some of this is owed to the various settings – Clash spent a good portion of its screen time in the richly stylized city of Argos, and that’s supplanted here mostly with small villages, forestry, caves, and battlefields – which give the picture as much earthier template. (Wars aren’t fought in lavish cities, it would see, but on open plains.) Even the supposed grandeur of the Underworld never quite amounts to a whole lot of pomp and circumstance, so it does help to temper one’s expectations when comparing this sequel to the opulence of the original. Even Olympus has fallen, you see, so perhaps stylistically these Earthly confines had to follow suit.
Despite the theatrical blemishes here – such as how does this one look so average when the budget increased considerably – Wrath probably shares more in common with those swords and sandals pictures of the 1960’s. In those, the men, gods, and demigods mostly saddled up for action; and they found something rowdy at every turn. Whereas Clash (2010) felt like it was trying to pick up the baton passed off by the 1980’s Harryhausen effort, Wrath goes back a decade or two earlier; and I suspect audiences were disappointed with being thrown back a bit further in storytelling history. While its effects and overall production values are quite good, Wrath can’t escape feeling like a project from an almost entirely cheaper universe … one that had already produced Hercules: The Legendary Journeys in weekly installments on television of the 1990’s.
Bluntly, that wasn’t a good look.
Unquestionably, Wrath benefits from having a clearly defined hero’s quest: Perseus and Agenor must join forces in their bid to both find their respective peace on Earth as well as achieve a kind of symbiotic equilibrium in their father/son dynamics. Also, the script – credited to Dan Mazeau, David Leslie Johnson-McGoldrick, and television network killer Greg Berlanti – somewhat admirably scores points in showing that not all demigods are created equal: Perseus remains the resident screen hunk while Agenor gets cast as the plucky problem solver with only a guilty knack for doing the right thing. The two make an interesting pair – a bit Abbott and Costello mythologically for those who understand the reference – and I’m glad the story dispensed with any pretense of having these two jockeying for screen time with muscles and brawn.
Also, Wrath gets an added layer of masculinity by having young Heleus along for the ride but not monopolizing what could’ve been a distracting father/son sub-plot. Given Perseus’ physical and (chosen) emotional separation from Zeus, the demigod steps capably into the role of ‘dear old dad,’ and Worthington’s efforts here appear to be at ease. Of course, things are apt to get a bit dicey once the young boy gets mixed up with gods and men, but that’s the stuff of good cinematic drama. It all works itself out nicely come the big finish.
Sadly, actress Alexa Davalos was unavailable to reprise her role in the saga, and the part of Andromeda was recast with Rosamund Pike. Clash Of The Titans saw Perseus and the queen parting ways (with a kiss) so that he could pursue a curiously forced entanglement with the aforementioned Io, but Io’s offscreen departure has the door swinging wide open again as Andromeda commands her armies to take up arms against these warring demons released by Kronos when Perseus shows up to make his stand. Alas, Pike and Worthington really muster little screen chemistry (for what it’s worth), and that cheapens what could’ve and should’ve been a wonderful reunion of the heart.
To my dismay, Wrath just doesn’t hold up nearly as well visually as Clash did. Some of this is owed to the various settings – Clash spent a good portion of its screen time in the richly stylized city of Argos, and that’s supplanted here mostly with small villages, forestry, caves, and battlefields – which give the picture as much earthier template. (Wars aren’t fought in lavish cities, it would see, but on open plains.) Even the supposed grandeur of the Underworld never quite amounts to a whole lot of pomp and circumstance, so it does help to temper one’s expectations when comparing this sequel to the opulence of the original. Even Olympus has fallen, you see, so perhaps stylistically these Earthly confines had to follow suit.
Despite the theatrical blemishes here – such as how does this one look so average when the budget increased considerably – Wrath probably shares more in common with those swords and sandals pictures of the 1960’s. In those, the men, gods, and demigods mostly saddled up for action; and they found something rowdy at every turn. Whereas Clash (2010) felt like it was trying to pick up the baton passed off by the 1980’s Harryhausen effort, Wrath goes back a decade or two earlier; and I suspect audiences were disappointed with being thrown back a bit further in storytelling history. While its effects and overall production values are quite good, Wrath can’t escape feeling like a project from an almost entirely cheaper universe … one that had already produced Hercules: The Legendary Journeys in weekly installments on television of the 1990’s.
Bluntly, that wasn’t a good look.
I could go on as Wrath’s problem don’t quite stop there. Bill Nighy shows up in a curiously miscast comic relief role, and the finale’s battle sequences occasionally smack of the requisite digital overload of trying to push too many images into so little space; but those might end up being personal assessments more than truly critical. Naturally, Perseus is triumphant in the battle – this is his story, after all – and his final assault lasts far long on screen than it need be. Such flourishes are natural when playing in the big leagues, though a bit of restraint might’ve elevated some of the hullabaloo by accomplishing more with less. Given Berlanti’s track record in television production, I suspect that was never going to be the case.
Wrath Of The Titans (2012) was produced by Warner Bros., Legendary Entertainment, Cott Productions, Furia de Titanes II A.I.E., Thunder Road Pictures, and Sur-Film. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the feature’s sights-and-sounds to be exceptional from start-to-finish. Lastly, if you’re looking for special features? There are a handful of making-of shorts that serve to tickle the fancy, but I found them a bit light on substance and feeling more like bloated advertising than anything else. As I was provided screener copies only, I can’t speak to the materials provided by the complete set purchase, so consider them buyer beware.
Mildly recommended.
Though this may not exactly sound like high praise, I’ll admit to enjoying Wrath Of The Titans (2012) a bit more than I did its predecessor – Clash Of The Titans (2010) – if only because I thought the sequel had a more relatable and coherent story. Visually, it’s surprisingly inferior, especially given the fact that by all accounts producers spent substantially more on bringing it to life and I’m just not quite seeing the spectacle up on the screen this time around. I still question lead star Worthington’s casting choice – his age works better as intended here, at least – as I don’t feel his performance shows he committed to the project, instead taking the route that perhaps screen hunks like Sylvester Stallone, Arnold Schwarzenegger, or Dwayne Johnson would’ve done. That just doesn’t work for me stylistically, but again I realize I might be in the minority.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K copy of Wrath Of The Titans (as part of their ‘When Titans Ruled The Earth’ Collection) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Wrath Of The Titans (2012) was produced by Warner Bros., Legendary Entertainment, Cott Productions, Furia de Titanes II A.I.E., Thunder Road Pictures, and Sur-Film. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the feature’s sights-and-sounds to be exceptional from start-to-finish. Lastly, if you’re looking for special features? There are a handful of making-of shorts that serve to tickle the fancy, but I found them a bit light on substance and feeling more like bloated advertising than anything else. As I was provided screener copies only, I can’t speak to the materials provided by the complete set purchase, so consider them buyer beware.
Mildly recommended.
Though this may not exactly sound like high praise, I’ll admit to enjoying Wrath Of The Titans (2012) a bit more than I did its predecessor – Clash Of The Titans (2010) – if only because I thought the sequel had a more relatable and coherent story. Visually, it’s surprisingly inferior, especially given the fact that by all accounts producers spent substantially more on bringing it to life and I’m just not quite seeing the spectacle up on the screen this time around. I still question lead star Worthington’s casting choice – his age works better as intended here, at least – as I don’t feel his performance shows he committed to the project, instead taking the route that perhaps screen hunks like Sylvester Stallone, Arnold Schwarzenegger, or Dwayne Johnson would’ve done. That just doesn’t work for me stylistically, but again I realize I might be in the minority.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K copy of Wrath Of The Titans (as part of their ‘When Titans Ruled The Earth’ Collection) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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