Review of Immortals (2011) by Matt L — 13 Nov 2012

Yet again the legendary saga of Theseus, the mortal elected by the King of Gods, Zeus, yet again reappears through another form of scripture and filming. As legend tells us Theseus was under the perception that his father was a god in his existence, and for him to demonstrate his significance as a gracious offspring of the kingdoms in the firmament, is set the challenge of serving those he loves, those who cannot shield themselves and to inhale the air between slavery as a peasant and spare his blood for the Greek terrain.

Here, the producers of 300 have partnered the prodigy with Henry Cavill (Stardust & Red Riding Hood), a ruthless performer who is set the almighty task of facing up to the sturdy posture of Mickey Rourke as King Hyperion in a storm to obtain a potent crossbow that has the competence to devastate those who entitle themselves as gods. Cavill provides us with a muscular stance with a positive visionary of the various fighting styles educated by Zeus. This is a man with idyllic talent in front of the camera but will have to improve on certain key tones if he is to make an authoritative stance as a protagonist in front of Hollywoodâ(TM)s moving photographic maker. On the other hand Rourke is quite convincing as yet another villainess psychopath despite his volatility and pre self-destruct push button. Praise must be given to Rourke for his reply his historic preferences by booking himself a catalogue of impending post and pre-production ventures through 2012 and 2013. Frieda Pinto never fails to project herself as an attractive female body. With a startling gaze and an arresting pose, the up and coming pin-up certainly grants her position as the Oracle, Phaedra, with an alluring appeal as a resistant from the temptation of filthy shoulders and bloody arms of steel.

With a respectable budget, Immortals looks visually startling when not pitched in darkness, as the lighting is very dull, placing us in complete dimness. This suggesting pessimistic overtones on the 3D spectacular to draw blank as you simply cannot see anything at times. Alas, the script is dreadfully monotonous and the synopsis could be given by Theseus in his sleep. There are too many illogical gaps that fail to explain the epic of Greek history, but fails to convincingly place its stance on the classic apart from adding a shiny bow and lavishly awful gold uniforms for the gods. The semantics are poor, on occasion straying away from the traditional speech known to be spoken in precedent adaptations of Theseusâ(TM) tale. Although Cavillâ(TM)s position is sturdy, the rest of the choreography seems a little spontaneous with unexplained pitches of visceral immaturity giving the film an edge of repetitive throat slashes and tiresome associations with glorified fanatical sequences that can only be described as inputs of excitement as Singhâ(TM)s series of battle royal scrambles are too frequent and exasperating. Despite Miss Pintoâ(TM)s appeal, Singh thrusts the boundaries of the sexual application too far. It is an atrocity of domination and glorified images of flashing the body with too many high key lighting usages. If you listen vigilantly, you will also eardrop a few dubious grotesque wordings of voyeurism that are simply objectionable and a little emphatic. Singhâ(TM)s efforts dishonour Immortalsâ(TM) potential to unleash a powerful take on a story that although having been continuously readdressed, does provides glamour and passion on the battle of iron combat. This is an outtake that is frustratingly enigmatic and incomprehensible.