300: RISE OF AN EMPIRE
2014, R, 102 mins.
2014, R, 102 mins.
Lena Headey as Queen Gorgo / Sullivan Stapleton as Themistocles / Eva Green as Artemisia / Jack O'Connell as Calisto / Rodrigo Santoro as Xerxes / David Wenham as Dillios / Callan Mulvey as Scyllias / Andrew Tiernan as Ephialtes / Ashraf Barhom as General Bandari / Andrew Pleavin as Daxos
Directed by Noam Murro / Written by Kurt Johnstad and Zack Synder
I'm not going to ever apologize for liking 2007’s 300 as much as I did. In my original review for it I described it as “GLADIATOR on a cocktail of speed and hallucinogenic drugs.”
still sounds about right. Director
Zack Snyder’s adaptation of Frank Miller’s 1998 graphic novel source
material was a historical action epic – albeit light on history and
ultra-heavy on blood-curdling mayhem – and a sensationally evocative
visceral thrill ride. It
wasn’t trying to be a document of the past (please!); rather, it was
trying to be a living, breathing comic book brought to life.
Snyder’s recreation of Miller’s panels was slavishly meticulous
right down to minute details, but he also imparted in it an aesthetic
style that has been heavily borrowed by many lesser action pictures. I had no problem placing 300 on my list of the Ten
Best Films of 2007; it was an audacious original.
Now, having said
that, no sequel to it could possibly have the same level of startling,
eye-popping novelty and freshness as Snyder’s film.
The only thing that a sequel could do, in retrospect, is mix things
up, which is precisely what 300: RISE OF AN EMPIRE does.
Rather than being a straightforward follow-up to its
Spartan-centric predecessor, this new film (helmed by Israeli Noam Murro,
replacing Snyder, whom now serves as co-writer and producer) is creatively
a prequel, a sidequel, and a sequel, if you will, to the very
events that occurred in the 2007 film. Beyond its interesting narrative approach, Murro proves
himself to be surprisingly adept (considering his filmmaking resume; his
last film was the family dramedy SMART
PEOPLE) at harnessing the flashy and bombastic stylistic trappings
that Snyder pioneered in the first film to make the sequel feel like a
naturally occurring by-product. 300:
RISE OF AN EMPIRE is every bit 300’s equal as an awe-inspiring visual
In terms of story
specifics, 300: RISE OF THE EMPIRE takes place mostly during the events of
the original film, with some nifty flashbacks to incidents prior to the
film and then ultimately climaxes with events that propel after the
conclusion of 300. With
Spartan King Leonidas now dead, a new warrior hero is required to step in
and replace him to defend Greece and its people from the despotic
god-king, Xerxes (Rodrigo Santoro). General
Themistocles (Sullivan Stapleton, trying as he can to harness the Gerard
Butler’s mountain-sized gusto from the first film, with intermittent
results) is more than equal to the task of keeping his homeland safe and
free of Xerxes’ tyranny. He
plans a daring naval defensive of Greece at the same time Leonidas plots
his own battle with his brave squad of 300 men.
Xerxes has a
secret weapon, though, in his back pocket in the form of Artemisia (smokey
eyed beauty Eva Green) who leads the Persian navy with a ruthless and
cunning intensity. Before
Artemisia and Themistocles lock horns in battle, the latter seeks out the
aid and guidance of Leonidas’ wife, Queen Gorgo (Lena Headey), but his
attempts at gaining assistance from her are met with much hesitation.
Because of a newfound lack of resources at his disposal, Themistocles
begins to rally his men and come up with rather ingenious strategizing to
take on the much larger Persia fleet.
When swift and assured tactics pave the way for his victory in the
first two battles, Artemisia becomes increasingly irritated with her own
military tacticians, which forces to seek an audience with Themistocles
himself in hopes of luring him over to her cause.
After what is easily the most peculiar – and violently eroticized
– meeting of tactical minds in movie history, Themistocles decides that
it's all or nothing and prepares his men for the final onslaught of
Now, to be fair,
Sullivan Stapleton has mighty large shoes (or is it sandals?) to
fill with the vacated Gerard Butler, as not too many actors would be able
to re-capture his level of fire and brimstone tenacity from the first 300.
Sullivan certainly looks the part and is a reasonably engaging
sword-hacking protagonist, but he’s ultimately a poor-man’s Leonidas.
Thankfully, 300: RISE OF AN EMPIRE’s ace up its sleeve is Eva
Green, who gives this ostensibly male-centric universe a much needed
dosage of formidable feminine potency.
Artemisia is no submissive woman trapped in this sea of six-pack
adorned machismo; she’s a snarling, tenacious, blood lusting, and
vengeful minded dominatrix that will use any method to exact her unique
brand of retribution. Yes,
this sequel woefully misses Butler, but Green picks up the slack with her
gloriously inspired and deliriously crazed turn as her Persian commander
with a taste for death. Compellingly
enough, she one-ups the male actors at their own performance game.
Films like these,
of course, exist for their chaotically violent battle scenes that border
on war porn, and 300: RISE OF THE EMPIRE is an unqualified triumph in
delivering on its promises of super-slow-mo ultraviolence with an
unparalleled oomph factor. All of the blunt force trauma that was on display to
fetishistic levels in 300 has been lovingly preserved here by Murro, with
blood and brain matter be slashed and hacked at the screen with so much
force that it often clouds the camera lenses and obscures our view. Thankfully, complimenting the stomach-churning, yet
exhilarating man-on-man skirmishes are the bravura naval battles, which
make us of cutting edge CGI effects, a wondrously bass-heavy rendered
sound track, and striking cinematography to create a ballet of wanton
nautical carnage. Few
war-inspired films are both nauseatingly and beautifully rendered as this
film is; the battles themselves almost take on a perverted, surreal
elegance at times.
I’m not sure
where else to go in this review. 300:
RISE OF AN EMPIRE is a shockingly effective and robustly vigorous sequel
that – like its antecedent – creates a non-stop audio-visual showpiece
that engulfs audiences from the get-go and never looks back or apologies
for its twisted eccentricities. By
adhering to the formal aesthetic that Snyder brought to his 2007 film
while, at the same time, imbuing in the plot a relatively intriguing take
on the events – pre, during, and post – of that film, 300: RISE OF AN
EMPIRE emerges as a far better sequel than I certainly was ever expecting.
It feels, through and through, like a series of exquisitely
rendered comic book panels transplanted on the silver screen and, as far
as out-of-body escapist films go, few recent examples have this film’s
dazzling and vivid impact.
And headlining all this pulp-inspired madness is Green, who just may be the most sexy and terrifying female antagonist to occupy an action flick in an awfully long time. She goes places here that few other actress would.