Clash Of The Titans

For that ignores what a Titan or even the mere existence of Greek mythology, Louis Leterrier, director of the remake of CLASH OF THE TITANS, consider bringing his film with the use of voice-over setting up lines essential to a thorough understanding of revisitation, we can not entertainment, history of Perseus. From the outset the aesthetic is clear: to develop at its peak the assumption of pure demonstration. Work on the sound, music and visual effects multiplier therefore feed a disappointing performance nonetheless effective.

The most unfortunate is probably due to the 3D fad that leads to swelling effects of films to fill the audience more eager to primary sensations. Whatever it is not used much, it does nothing more than a strictly cinematic point of view … since nothing is rich cinematically speaking. And as the script meets the aesthetic logic of both demonstrative and conditionality, the whole is consistent.

Although … But who cares about the failure of myths, shortcuts coarse within the script, change clothing illogical – and very funny – Andromeda?

CLASH OF THE TITANS appears as entertainment rather bland. While the visual effects are just bluffing, but once they catch excess. Sorely lacking an ounce of orgininaly or second degree. Everything is artificial and not surprisingly … Only the cast and the mini-skirt Perseus are interesting.

If the comparison with the original version of 1981, signed Desmond Davis, said an irremediable similarity as to the fundamentally commercial and entertaining film, it makes you aware of technological advances – all while fearing the future obsolescence of contemporary effects. It leads mainly to consider the changes in aesthetic values of Western society: Perseus 1981, aka Harry Hamlin Perseus versus 2010 aka Sam Worthington, or how the male hypothesis should now be virile, muscular, swollen … shaped.

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