*
Dir. Jonathan Liebseman
Well, there's 90 minutes of my life I'm never getting back. Jonathan Liebseman makes movies that are as pathetic and obnoxious as Michael Bay's, and this garbage is no exception. The sequel to the already atrocious 2010 Blockbuster Clash of the Titans is nothing more than poorly executed visual effects and a virtually nonexistent plotline.
Liebseman and screenwriters Dan Mazeau and David Johnson continue the story of Zeus' son Perseus (Sam Worthington), in a time where the power of the gods is quickly diminishing. Having chosen the simple life of a mortal, the mighty Kracken slayer realizes he cannot escape his destiny, as great peril stirs within the Underworld. The humans lose faith in the gods, and Zeus (Liam Neeson) and Poseidon (Danny Huston) find themselves unable to stand their ground against the forces of Ares (Édgar Ramírez), the god of war.
As if the "plot" isn't watered down and underdeveloped as it is, but the way it's presented makes the experience of watching this disaster feel like torture. The characters from the previous installment are reintroduced, and from there we see a series of terribly executed action sequences up until the credits. Combine the essence of Transformers and the Twilight saga, and that'll give you a pretty good idea of what this excuse for a movie is like.
The cast is really the only element that strives to save this epic failure. Between Worthington, Neeson, Ralph Fiennes as Hades, and Rosamund Pike as Perseus' love interest, they each make an effort to combat the long list of mistakes in this film. Yet despite their best attempts, it's difficult for any actor when they have a script and director like this to work with.
Furthermore, the cinematography is a reflection of the garbage CGI used in this "film". We've seen other films related to Greek mythology such as Troy and various Odyssey adaptations that are much more gripping, and it's pretty sad that this falls in the same genre. I have seen worse, but it's movies like these that are made for people without any intellectual approach to the cinema.
