Del reviews ‘Smile 2’
Pop singer Skye Riley finds herself being stalked by the Smile Entity in the followup to the viral horror movie hit "Smile" from 2022. This new excursion into that universe is even bloodier than the first. Paramount Pictures.
“Smile 2” Starring Naomi Scott, Rosemarie DeWitt, Lukas Gage. Directed by Parker Finn. Two hours, 7 minutes. Rated R. Theatrical release.
Plot summary: Comeback rock star Skye Riley finds herself stalked by the Smile Entity after witnessing the gruesome suicide of former classmate and sometime drug provider Lewis. A stranger, Morris, offers her a possible way of beating the entity.
Spoilers? None.
Del’s take
Halfway through “Smile 2” the couple behind me got up and left. I should have gone with them.
I didn’t like the movie.
Critics are raving. It was the top box-office draw its opening weekend. It’s well made and well acted. Director Finn and distributor Paramount are thinking about a threequel, I bet.
But lowly I, me, yours truly, didn’t like it. Why?
Because once upon a time horror movies were scary. “Smile 2” isn’t scary. It’s gross, violent and depressing, but it’s not scary.
I will say this: It’s got the coolest soundtrack I’ve heard in recent memory. And the cinematography was awesome. Upside aerials over the city? Very cool.
And the talent was invested in this film, no doubt. Naomi Scott and Rosemarie DeWitt were terrific. The others were good, some even memorable, like the creepy little girl at the meet-and-greet, who spoke nary a word but stared – and smiled.
But what can I say? I didn’t like the movie.
I remember a day when horror movies relied on storytelling, tension, and the audience’s imagination to make them scary. These days it’s all about jump scares and gore, and “Smile 2” is generously endowed with both. We get to see faces smashed with gym weights, jawbones ripped from skulls, daggers of glass pulled from bloody feet – it goes on and on. After awhile you just sit there in your movie theater seat, the soles of your shoes sticking to the gooey floor as this bloody spectacle plays out on the screen, the last molecule of empathy in your body bludgeoned into senselessness. The couple behind me missed the really bad parts.
Plus, it’s hard to feel anything for people who are so shitty, and every character in this movie is a creep to some degree, from burned-out ex-junkie Skye (Naomi Scott) to her insufferable stage mom Elizabeth (Rosemarie DeWitt) and looney drug dealer Lewis (Lukas Gage). Who cares if any of these guys gets a bedazzled microphone shoved through the eye?
Finally, what is the point of all this? What kind of object lesson are we supposed to learn? I tried to decide if “Smile 2” was a treatise on the wages of guilt, or a condemnation of the hollowness of fame and those who chase it. In the end I decided it was nothing but a pointless bloodbath.
But don’t listen to me. The critics love it, and so do moviegoers. Box Office Mojo reports “Smile 2” earned $23 million its first weekend, which topped the charts. All those people, and all that money, can’t be wrong. Right?
I give it a grade of C. Too bloody, too violent, too depressing for lowly me.
Del Stone Jr. is a former journalist and writer.
Image courtesy of Del Stone Jr.
It’s spring! All the birds are singing.
We have this notion birds sing because they’re happy, flying around, going wherever they want, eating whatever they want. They’re free!
But that’s not why birds sing.
Birds sing because they’re marking their territory. They’re telling other birds, “If you violate my airspace I will kick your motherfucking ass.”
They also sing to attract mates. In other words, they want to get laid.
So there you go. Next time you hear a bird sing, don’t think: Happy, carefree little creature singing its joy to the world.
Think SEX and VIOLENCE. Because that’s what birdsong is.
SEX and VIOLENCE.
And you thought TV was bed.
Heh heh heh.
—
About the author:
Del Stone Jr. is a professional fiction writer. He is known primarily for his work in the contemporary dark fiction field, but has also published science fiction and contemporary fantasy. Stone’s stories, poetry and scripts have appeared in publications such as Amazing Stories, Eldritch Tales, and Bantam-Spectra’s Full Spectrum. His short fiction has been published in The Year’s Best Horror Stories XXII; Alfred Hitchcock’s Mystery Magazine; the Pocket Books anthology More Phobias; the Barnes & Noble anthologies 100 Wicked Little Witch Stories, Horrors! 365 Scary Stories, and 100 Astounding Little Alien Stories; the HWA anthology Psychos; and other short fiction venues, like Blood Muse, Live Without a Net, Zombiesque and Sex Macabre. Stone’s comic book debut was in the Clive Barker series of books, Hellraiser, published by Marvel/Epic and reprinted in The Best of Hellraiser anthology. He has also published stories in Penthouse Comix, and worked with artist Dave Dorman on many projects, including the illustrated novella “Roadkill,” a short story for the Andrew Vachss anthology Underground from Dark Horse, an ashcan titled “December” for Hero Illustrated, and several of Dorman’s Wasted Lands novellas and comics, such as Rail from Image and “The Uninvited.” Stone’s novel, Dead Heat, won the 1996 International Horror Guild’s award for best first novel and was a runner-up for the Bram Stoker Award. Stone has also been a finalist for the IHG award for short fiction, the British Fantasy Award for best novella, and a semifinalist for the Nebula and Writers of the Future awards. His stories have appeared in anthologies that have won the Bram Stoker Award and the World Fantasy Award. Two of his works were optioned for film, the novella “Black Tide” and short story “Crisis Line.”
Stone recently retired after a 41-year career in journalism. He won numerous awards for his work, and in 1986 was named Florida’s best columnist in his circulation division by the Florida Society of Newspaper Editors. In 2001 he received an honorable mention from the National Lesbian and Gay Journalists Association for his essay “When Freedom of Speech Ends” and in 2003 he was voted Best of the Best in the category of columnists by Emerald Coast Magazine. He participated in book signings and awareness campaigns, and was a guest on local television and radio programs.
As an addendum, Stone is single, kills tomatoes and morning glories with ruthless efficiency, once tied the stem of a cocktail cherry in a knot with his tongue, and carries a permanent scar on his chest after having been shot with a paintball gun. He’s in his 60s as of this writing but doesn’t look a day over 94.
Contact Del at [email protected]. He is also on Facebook, twitter, Pinterest, tumblr, TikTok, Ello and Instagram. Visit his website at delstonejr.com .
William Warby, flickr
I can say without equivocation I have never shot a pizza guy for being 13 seconds late with a delivery.
I have never shot anyone for any reason.
But I swear to you I have talked on the phone with people who I thought might be capable of drawing a gun from the waistband of their stretchy-waist Lees and aiming it at my face.
In my former job as a newspaperman I took many calls from irate readers, and some of those folks sounded as if they might apply the same corrective strategy – to me! At least once a person threatened to shoot me. I wasn’t worried – people say lots of things but hardly ever do what they say they will. But the boss was sufficiently worried to call the cops, who counseled the person in question. Problem solved.
But in my mind the voice of the furious caller, the person on the other end who was brooding about a perceived slight, lingered afterward and inspired me to write this story, a kind of gestalt for every angry voice I ever listened to over the telephone.
Only one way to respond:
Thank you and have a nice day.
From Amazon:
13 Seconds: Revised, updated and enhanced with additional content, this flash fiction story will make you think twice about ordering out for pizza!
Quiggly is standing by the door, waiting on his pizza. He has a stopwatch.
And a gun.
Because the world is for shit anymore. Disposable cars, disposable jobs, even disposable people. Back in Quiggly’s day, things were better. Things were real. Things worked.
But not any more. Nobody cared about quality or service. All people wanted was their damn money, and they didn’t want to work very hard for it either.
They said he’d have his pizza within a certain number of minutes, and the pizza delivery boy was 13 seconds late. Thirteen seconds is 13 seconds, or has time changed too? Quiggly isn’t sure, but he knows one thing:
He’s going to get his pizza for free.
Or else.
(Cover image courtesy of William Warby of Flickr under the auspices of a Creative Commons license.)
About the author:
Del Stone Jr. is a professional fiction writer. He is known primarily for his work in the contemporary dark fiction field, but has also published science fiction and contemporary fantasy. Stone’s stories, poetry and scripts have appeared in publications such as Amazing Stories, Eldritch Tales, and Bantam-Spectra’s Full Spectrum. His short fiction has been published in The Year’s Best Horror Stories XXII; Alfred Hitchcock’s Mystery Magazine; the Pocket Books anthology More Phobias; the Barnes & Noble anthologies 100 Wicked Little Witch Stories, Horrors! 365 Scary Stories, and 100 Astounding Little Alien Stories; the HWA anthology Psychos; and other short fiction venues, like Blood Muse, Live Without a Net, Zombiesque and Sex Macabre. Stone’s comic book debut was in the Clive Barker series of books, Hellraiser, published by Marvel/Epic and reprinted in The Best of Hellraiser anthology. He has also published stories in Penthouse Comix, and worked with artist Dave Dorman on many projects, including the illustrated novella “Roadkill,” a short story for the Andrew Vachss anthology Underground from Dark Horse, an ashcan titled “December” for Hero Illustrated, and several of Dorman’s Wasted Lands novellas and comics, such as Rail from Image and “The Uninvited.” Stone’s novel, Dead Heat, won the 1996 International Horror Guild’s award for best first novel and was a runner-up for the Bram Stoker Award. Stone has also been a finalist for the IHG award for short fiction, the British Fantasy Award for best novella, and a semifinalist for the Nebula and Writers of the Future awards. His stories have appeared in anthologies that have won the Bram Stoker Award and the World Fantasy Award. Two of his works were optioned for film, the novella “Black Tide” and short story “Crisis Line.”
Stone recently retired after a 41-year career in journalism. He won numerous awards for his work, and in 1986 was named Florida’s best columnist in his circulation division by the Florida Society of Newspaper Editors. In 2001 he received an honorable mention from the National Lesbian and Gay Journalists Association for his essay “When Freedom of Speech Ends” and in 2003 he was voted Best of the Best in the category of columnists by Emerald Coast Magazine. He participated in book signings and awareness campaigns, and was a guest on local television and radio programs.
As an addendum, Stone is single, kills tomatoes and morning glories with ruthless efficiency, once tied the stem of a cocktail cherry in a knot with his tongue, and carries a permanent scar on his chest after having been shot with a paintball gun. He’s in his 60s as of this writing but doesn’t look a day over 94.
Contact Del at [email protected]. He is also on Facebook, twitter, Pinterest, tumblr, TikTok, Ello and Instagram. Visit his website at delstonejr.com .
About this book:
“13 Seconds” is a 701-word short story. It was originally published in “Horrors! 365 Scary Stories,” 1998, Barnes & Noble.
The book’s total length is 2,498 words.
Image courtesy of Open Road Films and Briarliff Entertainment.
“Honest Thief” Starring hot Kate Walsh, old Liam Neeson, decent bad guy Jai Courtney, remorseful Anthony Ramos, skeptical but open-minded Jeffrey Donovan and others. Directed by Mark Williams. 99 minutes. PG-13. Amazon Prime.
Mladen’s take
“Honest Thief” is an honest-to-goodness mediocre movie. It pulls a C+. The film’s woes in a moment. I’m obliged to provide a summary first to sedate Del’s urge to nag me about it.
Liam Neeson as Tom Carter falls in love with perfect woman Annie Wilkins played by Kate Walsh. Carter decides that the relationship will suffer unless he comes clean with his dark past, which ain’t all that dark if you ask me. Stealing from the rich to keep some for yourself and give some to the poor is OK with me.
Anyway, Tom tries to confess to the FBI that he’s a long-wanted bank robber and cut a deal to serve less time in the hoosegow so that he can spend more time with Annie. As The Fixx will tell you, one thing leads to another and, pretty soon, Tom and Annie are on the run from a couple of corrupt FBI special agents trying to steal the money that he robbed from assorted financial institutions.
Toss in guilt trips, a murder or two and attempted murders, violations of the oath to serve and protect, EOD expertise, lots of PG-13 gun play, and a healthy house-destroying detonation and you’ve got a pretty standard tale of a somewhat bad man, a thief, attempting to do the right thing, be honest.
Casting old Neeson as an adroit, strong brawler and an ace car driver provokes one of my biggest movie-going peeves. Action films cannot be propelled by aged dudes. And, Neeson is gaunt to boot, so it’s impossible for him to use sheer bulk as the source of a powerful punch. I’m somewhat old and would, no doubt, break many a bone falling from a two-story window whether I’m locked in fisticuffs with a Bureau baddie or not. Hell, I’m not even convinced Tom would be able to lift the uber-drill he uses to break into bank vaults made of thick steel.
Even more of an impossibility is that someone as fine as Annie would fall for a semi-mummy-looking fellow such as Tom. That said, Walsh does a good job making the movie flow. She’s convincing as a girlfriend who goes from disbelieving and troubled that her beau is a bank robber to a willing accomplice intrigued by Tom’s techno-skills.
In fact, it’s getting to the point where I’ll consider watching a movie starring Walsh even if the genre is crap. For example, she was very good in “Grey’s Anatomy.” My daughter made me watch the show.
“Honest Thief” knows what it is. A passable film that’ll draw a sufficient number of viewers to make some bank. I imagine it also took no more than a week to make, freeing Neeson to shoot another film where he can pretend to be as strong as the 30-year-olds he’s fighting.
Del’s take
I would make a lousy Robin Hood because I am not as sanguine as Mladen about stealing from the rich to give to the poor. I thought the whole point of capitalism was to let people come up with a great idea, work their ass off, sell it for billions of dollars and enjoy the financial fruits of their labor.
Being rich doesn’t mean a person is evil. Breaking the rules and stealing – those things are evil. So with that thought I segue into my critique of “Honest Thief”: It was a decent enough action movie based on a ridiculous premise.
Throughout my viewing of I heard a voice inside telling me, “This is ridiculous. Nobody but NOBODY would behave like this.”
And by “this” I mean what Mladen wrote: “Liam Neeson as Tom Carter falls in love with perfect woman Annie Wilkins played by Kate Walsh. Dolan decides that the relationship will suffer unless he comes clean with his dark past … Tom tries to confess to the FBI that he’s a long-wanted bank robber and cut a deal to serve less time in the hoosegow so that he can spend more time with Annie. As The Fixx will tell you, one thing leads to another and, pretty soon, Tom and Annie are on the run from a couple of corrupt FBI special agents trying to steal the money that he robbed from assorted financial institutions.”
What Mladen omitted in his otherwise acceptable summary was the reason for Tom Carter’s bank-robbing spree. It was to avenge a miscarriage of justice inflicted on his father by a bank. I’m rolling my eyes as I write this.
THAT is a ridiculous premise.
What follows is a corny, formulaic beat-’em-up that explodes every house, falls off every ledge and lands every roundhouse you would expect from a man with a particular set of skills. Liam Neeson gimps his way through the plot with respectable dexterity – I mean, the guy is 68 years old, which is only two years older than yours truly, and I would not want to have my teeth kicked by anybody, much less a corrupt FBI agent. But I would agree with Mladen that maybe he’s a tad long in the tooth for those kinds of roles. To go on would be a mis-taken.
I enjoyed the action and I thought Kate Walsh and Jai Courtney were the standout actors. Neeson was his usual post-AARP good guy with a pacemaker. The characters were props for the action, however, and that’s what I remember best from “Honest Thief.”
Mladen gave the movie a C+. I’ll be a little more generous and say it’s a B-. The unbelievable premise knocks it down from a solid B.
Mladen Rudman is a former newspaper reporter and technical writer. Del Stone Jr. is a former newspaper editor and author.
Image courtesy of Severn Screen.
“Apostle” Starring Dan Stevens as Thomas Richardson, Michael Sheen as Malcolm, Richard Elfyn as Charles, Paul Higgins as Frank, Bill Milner as Jeremy, Catrin Aaron as Elaine, Lucy Boynton as Andrea Howe, and others. Directed by Gareth Evans. 2 hours, 10 minutes. Rated TV-MA. Streaming on Netflix.
Plot summary: A man goes undercover to rescue his sister from the clutches of a religious cult that has taken up residence on a secluded island. During his attempt to free his sister he discovers a horrifying secret being kept by cult leaders.
Are there spoilers in this review: Yes. Read at your peril.
Del’s take
“Apostle” is two movies in one.
On the surface it’s a high-tension thriller about a man trying to rescue his sister from the clutches of a religious cult. But it’s also about a uniquely weird and horrifying supernatural secret being kept within the bleak, windswept hills of a deserted island.
I should have saved this review for Halloween because “Apostle” would fit that bill perfectly – as scarefests go it departs from the usual Spooky Season fare. You’ll find no unkillable slashers, shrieking ghosts or giant reptiles here. Instead, it’s a tense period piece from the debut of the previous century with a quietly anarchic feel, more reminiscent of “Midsommer” and “Wicker Man” than “Friday the 13th.”
I’m not familiar with Evans’ work but I am becoming a fan as “Apostle” is the rare movie that undergoes a tectonic shift in pacing and tone at about the halfway point, and somehow it all works. From quietly tense to madness, “Apostle” asserts the power of suggestion can be a dangerous weapon, but what lies behind that power could be even worse.
“Apostle” is also one of those movies where the setting abets the theme. It was shot mostly in Wales along the coastline and embodies the harsh, threadbare and downright mucky quality of life such locales had to offer in the early 20th century. Rocky coastlines flanked by fields of wiry grass giving way to dark, dank forests, operate as a kind of additional character in the story, similar to the way the cold and snow worked in the original “Let the Right One In.”
But it’s what lurks beneath those hills and forests that really drives the story, and while its presence is hinted at in the first half of the film, the second half becomes a quest to bring everything into the rational light of day while defeating the antagonists and acquitting the victims. At this point “Apostle” goes from slow burn to a furious boil of gore, blood, and horror layered upon horror, much like events leading up to the climatic scene in “Texas Chainsaw Massacre.”
All the actors were terrific in this film, but Dan Stevens’ desperate Thomas Richardson stands above the others. Also notable were Lucy Boynton as skeptical Andrea Howe and Bill Milner as the callow Jeremy. If I had to criticize the movie for anything, it would be the relative unlikability of Thomas, who seemed to hover somewhere between devoted rescuer and drug-addicted looney.
Mladen is already crabbing about it not having lots of foul language or sex. There are sex scenes, but I’d describe them as demur. As for the cussing, well, what can I say? This was turn-of-the-century England, not MAGA America.
I’ve watched movies that in one small way or another remind me of parts of “Apostle,” but I think it’s safe to say you’ve never seen anything like it. Evans tells a fascinating and entertaining story, one that’s worth your 2-hour, 10-minute commitment to watch it.
You won’t be disappointed.
Del’s score: B+
Mladen’s take
Speaking of MAGA. When I read Del’s summary of “Apostle,” I assumed the movie was about the Republican Party under Trump. I was mistaken. “Apostle” is tame compared to the back-stabbing, power-hoarding, hyper-erratic, yellow-bellied, proudly racist, and gullible males and females classifying themselves as GOP-ers these days.
Also mistaken is Del’s review of “Apostle.” It’s crappy and just barely more tolerable than torture movies such as “Saw” or “Hostel.” Only smart and beautiful redhead Andrea kept me watching because she bridged the gap between the film’s decent portrayal of cultism and its grotesque, nearly gratuitous descent into body horror starting with the brain drill.
The film’s most interesting character is religious sect prophet Malcolm (portrayed by Micheal Sheen). As the cult’s top religionist, Malcolm balances charisma, desperation, and dislike for needed violence, as he defines it, pretty darn well. His sole goal is keeping his colony functioning by eluding an impending doom even if that means shedding the Almighty for paganism. Now that I think about it, that’s interesting. The libertarian god of Malcolm’s beliefs most share space with the nature witch who control the island’s plant life.
“Apostle” costumes and bleak environment, mostly grays and blacks, suit the plot nicely as Del noted but other elements are askew.
First, there’s no way that turn-of-the-19th century Englanders, not to say self-exiled cultists living on the edge of poverty, had such perfect teeth.
Second, our protagonist Thomas is accidently the scariest person in the film. It wasn’t his opium addiction. It wasn’t that Thomas got a man murdered by doing a ticket switch to get on a guarded boat to the unholy island warren of Erisden. It was the persistent expression on his face, particularly the eyes. He looked evil with eyes always darting never blinking and, I don’t know, glowing preternaturally.
Third, where Del sees a wonderful transition from the film’s first half of seething, albeit, discreet menace and hypocrisy to a father murdering his teenaged daughter with a knife, then her teenaged lover with the hand-powered brain drill, then shooting Malcolm with a sawed-off shotgun, and then threatening sexy Andrea and Thomas’s sister, I see a movie running out of ideas to convey the dangers of cults and the rhetoric that inspires regular folk to dive into the deep end of an empty pool.
And, finally, I have no idea why the beast-man with his reed-wrapped head was needed. Yes, the soiled being, apparently, protected and fed the nature witch with blood and flesh from animals and then humans but from where did he come? Who or what was he? Why did Malcolm trust the beast man to care for the increasingly apathetic, or was it disillusioned, pagan who ran the island’s environment. I believe the beast man was inserted into the movie for on scene alone, the one where he tries to grind Thomas into food pellets and strips for the witch. Yuck and a repulsive yuck at that.
I agree with Del. Y’all probably never saw anything like “Apostle” and you may not want to.
Mladen’s score: A generous C because the first half of the movie isn’t bad.
Mladen Rudman is a former journalist and technical writer. Del Stone Jr. is a former journalist and writer.
Image courtesy of Relativity Media.
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“Immortals” Starring Henry Cavill, Mickey Rourke, Stephen Dorff, Freida Pinto, Luke Evans, John Hurt. Directed by Tarsem Singh. 110 minutes. Rated R.
Del’s take
OK, Mom and Dad. Do not – I repeat, do NOT – take the kiddies to see “Immortals.” If you do, I suggest when you get home you immediately hide the family sledgehammer. Yes, in “Immortals,” somebody does something very bad with a sledgehammer. We’re talking back-alley vasectomy. We wouldn’t want the kiddies getting any ideas.
You might also want to hide the kitchen knives, any random chains you’ve got hanging around, pikes, swords – heck, just hide everything. Or better, do NOT take the kiddies to see “Immortals.”
Because it’s a bloodbath – an empty, silly, thoroughly predictable yet exquisitely choreographed bloodbath. Take strawberries, tomatoes, cherry Jell-O, berry-flavored Kool-Aid, and dump them into a blender. Leave the top off and hit the “on” button. That’ll give you a visceral preview of “Immortals.” Oh, and you get to clean up the mess.
In “Immortals,” the gods have won their war against the Titans, imprisoning them within a mountain. But a power-mad human king, Hyperion (played with vicious gusto by Mickey Rourke) decides he must have a WMD, something called the Epirus Bow, with which he may free the Titans and rain destruction on all of Greece. The gods are bound by law not to interfere in the matters of men (probably a part of Obama’s health care plan), but Zeus (Luke Evans/John Hurt) has been secretly preparing a human peasant, Theseus (Henry Cavill), to lead the Greeks to triumph over Hyperion. When Hyperion’s men slay Theseus’ mother, and Theseus encounters a virgin vision-seer (Freida Pinto, who doesn’t remain a virgin very long – oops, spoiler alert!) who sees his role in the upcoming battle, Theseus embarks on a bloody quest to avenge his mother’s death and make the world safe for Democrats. OK, maybe that’s stretching it.
If you go into “Immortals” expecting any kind of high-concept art, you’ll be disappointed. It is not “Being There” or “2001: A Space Odyssey.” Heck, it’s not even “Star Wars.”
Or maybe it is. What separates “Immortals” from movies like, say, “Transformers,” is that it does have a plot, albeit a predictable plot sans any pleasant surprises along the way. Director Tarsem has constructed a visual machine that performs its work with the ritual synchronicity of an assembly line at a Ford plant.
It also has lots and lots of flesh – pretty boys with perfectly sculpted abs and luscious women whose attributes, be they God-given or enhanced by prosthetics, suggest that life in the B.C. days had definite virtues.
But it’s the fight scenes in “Immortals” that make the movie worth seeing. If you thought Jet Lee, the Wachowski brothers and Quentin Tarrantino had mined that vein for all it’s worth, think again. “Immortals” carries the movie fight scene to an unprecedented and bloody apex, giving the viewer a slow-mo entrée to a feast of exploding heads, cartwheeling body parts and severed torsos, all of it presented in breathtaking operatic melodrama.
I recommend seeing it in 2D. The 3D version contributes practically nothing to the viewing experience.
“Immortals” is not for the squeamish. It’s not for the thoughtful moviegoer.
But if you’re looking for nearly two hours of escapist fun – and you’re not warping your children’s minds – you’ll enjoy “Immortals.”
Out of 10 stars I give it seven.
Mladen’s take
The film “Immortals” starts with a vision by a soon-to-be defrocked virgin oracle and ends with her glimpse of the future coming true. Between, the movie is filled with slick scenes of slaughter that only an R rating permits.
Immortals is loosely based on Greek mythology.
Gods, led by father Zeus and fearful of another internecine war with Titans, hope that a mortal becomes their savior. Theseus, portrayed by Henry Cavill, is nudged by fate and faith to fight against Hyperion, played by Mickey Rourke. Hyperion, a commander of vast legions, wants to free Titans to avenge cruelties that he and his family endured because Gods refused to intervene on their behalf. But, before Hyperion can achieve his desire, he has to fight Hellenes, and Theseus, defending the mountain where Titans are imprisoned.
As the heroes – Theseus and Gods – and antiheroes – Hyperion and Titans – edge closer to battle, Immortals tries to teach us lessons.
Theseus and his mother are peasants and abused by prominent members of the cliffside village where they live, so there’s a subtheme of class warfare.
Theseus, an unbeliever at the beginning of the movie, transforms into a man of faith. Hyperion, once a believer in Gods, scorns them. Guess which one survives the epic hand-to-hand combat at Immortal’s end? So, we are taught that those who bow to the will of Gods prevail and those who fail to genuflect, die. What crap.
Morals aren’t the strength of Immortals, but, I suppose, something had to be devised to bundle the movie’s virtue: gorgeous, stylized carnage.
Theseus sweeps through squads of Hyperion’s men with ballet-like precision, puncturing abdomens and heads with spears, slicing necks with swords, and, once, blasting them with electromagnetic arrows of the Epirus bow.
Though the peasant warrior’s magic with all objects sharp and pointy was impressive, nothing compared to the vivid gore that enveloped the screen when Gods or Titans warred. I’ll stop here to keep from spoiling the scenes, but wait until you see god Aries dispatch a half-dozen of Hyperion’s men in slow motion about halfway through the movie. The battle between Gods, who dress like sissies, and Titans, who look like corpuscular ash, is absolutely luscious.
Del and I saw Immortals in 3-D, though it isn’t necessary to enjoy the movie. The cinematography is bright enough, I suspect, to make Immortals very watchable in just plain 2-D, as long as the theater packs a good sound system.
Mladen Rudman is a former journalist and technical editor. Del Stone Jr. is a former journalist and author.