In response to the obvious demand by teenage audiences worldwide, we have a sequel to the lackluster 2010 Clash of the Titans (a reboot of the 80’s classic), which promises bigger effects and more gods-versus-Titans video game-inspired action (think God of War). It delivers on all its promises, but forgets the importance of story and character development, hashing out grotesque monsters and big explosions simply for good measure. This is exactly what would happen if Michael Bay got his hands on Lord of the Rings.
Wrath of the Titans rewrites Greek mythology, only borrowing character names and their abilities. The characters, unfortunately, weren’t that interesting the first time around, and only grow more tiresome in the sequel. The film once again follows a quest-based adventure storyline, and gives a good measure of daddy issues to our two-dimensional hero, Perseus. Everyone, including the actors, seem disinterested in the film. Sam Worthington even occasionally forgets to switch from his Australian accent.
The story picks up a decade later, the half-god Perseus (Sam Worthington) returns to fishing and focuses on raising his son, dismissing Zeus’ offer of riches. Much like the Immortals storyline, Wrath sees the gods losing power as mankind loses faith, weakening the walls which imprison the Titans. When Zeus (Liam Neeson) turns to Persues for help, he politely declines. It becomes a soap opera affair when Ares, Zeus’ other son and Hades, his brother, ensnare the all-powerful god of thunder in a trap, offering him as a sacrifice to a Lava Kraken, who is actually their father. After a vivid vision, Persues leaves everything behind sets off to save his father.
The casting is perhaps one of its biggest downfalls. Only Liam Neeson’s Zeus adds life to the story, but is inappropriately played as a background character to Persues. Not a single actor was convincing in their roles. Worthington is monotone and offered very little emotion even in times that needed it.
South Africa’s Jonathan Liebesman (Darkness Falls and Battle Los Angeles) takes on the role of director, but is unable do anything with the uninspired script which credits five writers. It’s an uninteresting film, which relies too much on its retina-burning CGI.