300
This is the type of movie that tests a reviewer in how they review genre films. Based on a graphic novel by Frank Miller (“Sin City”), this retelling of the real-life war 300 Spartans- led by their nerves-of-steel King Leonidas (“Phantom of the Opera’s” Gerard Butler, capable of a big head of steam, but very little of much else for basically the main character)- fought against a thousands-strong army from Persia led by self-proclaimed demi-God Xerxes (the towering-in-stature, and thundering of voice, Rodrigo Santoro) has been a ‘Net geek cause celebre since the first trailer hit theatres last year. Miller’s name is one draw; the other is that of co-writer/director Zack Snyder, whose visceral style shot some adrenaline into his 2004 remake of “Dawn of the Dead” and turned it into a really great film on its’ own terms (one of the few remakes that feels worthwhile). That success turned him into a hot genre director, and a top choice for several prime flicks, including the long-in-development adaptation of Alan Moore’s “Watchman,” which promises to be his next film.
One look at the trailer for “300,” and it’s hard not to see the appeal for geeks. The story- as told by Miller- is tantilizing as a promising and exciting battle epic to rival- maybe even surpass- many of the biggest ones of the past few years (“Troy,” “Braveheart,” and “Gladiator” come most to mind). And the film- as directed by Snyder- looked like an invigorating and stylized adaptation of the visual pallete put forth in Miller’s graphic novel, with each frame of the film evoking the broad visuals of a panel from a comic book. No wonder the geeks- including Ain’t It Cool News’ Harry Knowles (who, after seeing it at his annual Butt-Numb-a-Thon, placed it on his 10-best list for 2006)- are worshiping at the alter of this film.
Me, I can’t help but think of other films- like the ones mentioned earlier (and others, like “Lord of the Rings” and- eeks!- “Alexander”) that did this type of thing earlier, and mostly, better. Like a great painting, “300” is interesting to look at, but unlike a great movie, it’s not interesting to watch. Snyder delivers on “Dawn of the Dead’s” promise of stylized visuals, using the same process of heavy-CG, low production design filmmaking Robert Rodriguez utilized when he and Miller brough “Sin City” to the screen, and it results in some truly memorable visuals- from writhing female oracles to the small Spartan army in battle with the armies of Persia- set to the fittingly, entertainingly bombastic rock orchestra score by “Dawn” composer Tyler Bates. But as drama- Hell, even as pop melodrama- the film failed to engage me. Regardless of source material or cinematic intention (of which “300” has very little beyond pop entertainment), shouldn’t one be swept up in some sort of narrative momentum? Even with characters as archetypal as these, it’s entirely possible (Hell, “Sin City’s” characters were no-more developed than these, but I was drawn intensely into those storylines). I’ve watched contemporary action blow-em-ups with twice the absurdity and half the brains of “300” that have held me in thrall, when intellectually speaking, I knew I shouldn’t be that invested in the story. But for all its’ bluster and speechifying (David Wenham’s voiceover- later revealed as a recounting of the “300’s” tale- is almost as heavy-handed as Leonidas’ battlecries in attempting to inspire the same sense of heroism as Mel Gibson and Russell Crowe have before), “300”- whose liberal use of slow-motion verged on pathological (and made “The Matrix” trilogy seem subtle by comparison)- has all of the ingredients to be a powerhouse entertainment…save for a soul.
Disagree with my review? Fair Enough. If you want, feel free to check out the listing for Tyler Bates’ soundtrack album- or the 2-disc DVD page linked above- over at Amazon.com.
