the 300 movie review

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I gave a four-star rating to " Sin City ," the 2005 film based on a graphic novel by Frank Miller . Now, as I deserve, I get "300," based on another work by Miller. Of the earlier film, I wrote prophetically: "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids." They must have been buying steroids wholesale for "300." Every single male character, including the hunchback, has the muscles of a finalist for Mr. Universe.

Both films are faithful to Miller's plots and drawings. "300," I learn, reflects the book almost panel-by-panel. They lean so heavily on CGI that many shots are entirely computer-created. Why did I like the first, and dislike the second? Perhaps because of the subject matter, always a good place to start. "Sin City," directed by Robert Rodriguez and Miller, is film noir, my favorite genre, taken to the extreme. "300," directed by Zack Snyder , is ancient carnage, my least favorite genre, taken beyond the extreme. "Sin City" has vividly- conceived characters and stylized dialogue. "300" has one-dimensional caricatures who talk like professional wrestlers plugging their next feud.

The movie involves a legendary last stand by 300 death-obsessed Spartans against a teeming horde of Persians. So brave and strong are the Spartans that they skewer, eviscerate, behead and otherwise inconvenience tens of thousands of Persians before finally falling to the weight of overwhelming numbers. The lesson is that the Spartans are free, and the Persians are slaves, although the Spartan idea of freedom is not appetizing (children are beaten to toughen them).

But to return to those muscles. Although real actors play the characters and their faces are convincing, I believe their bodies are almost entirely digital creations. They have Schwarzeneggerian biceps, and every last one of them, even the greybeards, wear well-defined six- packs on their abs. I can almost believe the star, Gerard Butler , may have been working out at Gold's Gym ever since he starred as the undernourished Phantom of the Opera, but not 300, 200 or even 100 extras. As a result, every single time I regarded the Spartans in a group, I realized I was seeing artistic renderings, not human beings.

Well, maybe that was the idea.

The movie presents other scenes of impossibility. Look at the long- shots of the massed Persians. There are so many they would have presented a logistical nightmare: How to feed and water them? Consider the slave-borne chariot that Xerxes pulls up in. It is larger that the imperial throne in the Forbidden City, with a wide staircase leading up to Xerxes. Impressive, but how could such a monstrosity be lugged all the way from Persia to Greece? I am not expected to apply such logic, I know, but the movie flaunts its preposterous effects.

And what about Xerxes ( Rodrigo Santoro ) himself? He stands around eight feet tall, I guess, which is good for 500 B.C. (Santoro's height in life: 6 feet, 2.75 inches). He towers over Leonidas (Butler), so we know his body isn't really there. But what of his face? I am just about prepared to believe that the ancient Persians went in for the piercing of ears, cheeks, eyebrows, noses, lips and chins. But his eyebrow have been plucked and re-drawn into black arches that would make Joan Crawford envious. And what about the mascara and the cute little white lines on the eyelids? When the Spartans describe the Athenians as "philosophers and boy-lovers," I wish they had gone right ahead to discuss the Persians.

The Spartans travel light. They come bare-chested, dressed in sandals, bikini briefs and capes. They carry swords and shields. At the right time, they produce helmets which must have been concealed in their loincloths. Also apples. And from the looks of them, protein shakes. They are very athletic, able to construct a towering wall of thousands of dead Persians in hours, even after going to all the trouble of butchering them. When they go into battle, their pep talks sound like the screams of drunken sports fans swarming onto the field.

They talk, as I suggested, like pro wrestlers, touting the big showdown between Edge and The Undertaker. "Be afraid!" they rumble, stopping just short of adding, "Be very afraid." They talk about going on the "warpath," unaware that the phrase had not yet been coined by American Indians. Their women, like Gorgo ( Lena Headey ), queen of Leonidas, are as bloodthirsty as their men, just like wrestler's wives.

All true enough. But my deepest objection to the movie is that it is so blood-soaked. When dialogue arrives to interrupt the carnage, it's like the seventh-inning stretch. In slow motion, blood and body parts spraying through the air, the movie shows dozens, hundreds, maybe thousands, of horrible deaths. This can get depressing.

In old movies, ancient Greeks were usually sort of noble. Now they have become lager louts. They celebrate a fascist ideal. They assume a bloodthirsty audience, or one suffering from attention deficit (how many disembowelings do you have to see to get the idea?). They have no grace and wisdom in their speech. Nor dignity in their bearing: They strut with arrogant pride. They are a nasty bunch. As Joe Mantegna says in " House of Games ," "You're a bad pony, and I'm not gonna bet on you." That's right before he dies, of course.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Rated R violence, nudity, sexuality

117 minutes

Andrew Tiernan as Ephialtes

Lena Headey as Gorgo

Vincent Regan as Captain

Gerard Butler as Leonidas

Peter Mensah as Messenger

Michael Fassbender as Stelios

Andrew Pleavin as Daxos

Dominic West as Theron

David Wenham as Dilios

Tom Wisdom as Astinos

Rodrigo Santoro as Xerxes

Stephen McHattie as Loyalist

Directed by

• Zack Snyder

Screenplay by

• Kurt Johnstad
• Michael B. Gordon

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Common sense media reviewers.

Bloody, fanboyish retelling of an ancient battle.

A Lot or a Little?

What you will—and won't—find in this movie.

Themes of underdog heroism and not bowing to corru

Even in the face of sure defeat, brave soldiers st

Over-the-top battle-scene violence, including grap

Extended love scene between Leonidas and the queen

Colorfully worded insults like: "motherless dogs,"

Parents need to know that this is no Masterpiece Theater rendition of ancient history. Like Sin City , 300 is an ultraviolent tale based on a graphic novel by Frank Miller. There's blood galore as the Spartans -- trained war machines -- defend their land against Xerxes' massive Persian army…

Positive Messages

Themes of underdog heroism and not bowing to corruption get a little lost in the blood and gore.

Positive Role Models

Even in the face of sure defeat, brave soldiers stand firm against tyrannous threats to freedom. A corrupt Spartan councilman is exposed as a traitor and brought to justice. But also some stereotyping based on Asian culture, as well as one character's physical disability.

Violence & Scariness

Over-the-top battle-scene violence, including graphic decapitations, severed limbs, mutilated bodies piled high, arrow-filled torsos, etc. Young Spartan boys are forced to furiously fight each other. The Spartan mottos are "No retreat, no surrender" and "No prisoners, no mercy."

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Extended love scene between Leonidas and the queen; viewers can see her nude breasts and his butt. The adolescent Oracle writhes and sways while wearing a sheer cloth that reveals her breasts. A character unwillingly has sex to procure a politician's favor. Although no nudity is shown in that scene, the aggressor whispers menacingly: "This will not be fast. You will not enjoy this." Xerxes' lair is depicted like an orgy, with various half-dressed Persian women kissing, moaning, and having sex.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Colorfully worded insults like: "motherless dogs," "philosophers and boy-lovers," etc.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this is no Masterpiece Theater rendition of ancient history. Like Sin City , 300 is an ultraviolent tale based on a graphic novel by Frank Miller. There's blood galore as the Spartans -- trained war machines -- defend their land against Xerxes' massive Persian army. Battlefield valor and violence is glorified by the Spartans, who take no prisoners and show no mercy. Heads literally roll, blood splatters, exotic animals are sliced and speared. Many, many soldiers on either side die gruesomely. If on-screen death and war -- even one so stylized and cartoonish at times -- is too disturbing a subject matter for your kids (or you!), this bloodfest isn't a safe bet. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Community Reviews

• Parents say (34)
• Kids say (108)

Based on 34 parent reviews

It's soooooo heavy handed

What's the story.

Adapting Frank Miller's graphic novel 300, Snyder takes a hyperstylized visual approach to depicting the famed Battle of Thermopylae, where King Leonidas ( Gerard Butler ) and his 300 elite personal guards defied their Oracle and the odds to wage war against Xerxes' huge, unrelenting Persian army. Faced with the choice of submitting to Xerxes (Brazilian Lost regular Rodrigo Santoro, rendered nearly unrecognizable in earrings and eye makeup) or waging war, Leonidas makes the only choice a warrior-king can: fight. Leonidas and his personal detachment, led by his captain (fine character actor Vincent Regan) and Dilios (David Wenham), discover that although they're grossly outnumbered, they can funnel the enemy into the Hot Gates (the literal translation of "Thermopylae"), a narrow pass where the Spartans' special-forces skills will crush wave after wave of the Persians. And, oh, how they crush. It's impressive and disarming to see the 300 delight in the "glory" of warfare. The Spartans, so drunk on warlust that they dismember, skewer, decapitate, and spear the enemy -- whether it's human, animal, or something in between -- are brave, but also a bit mad. What the Spartans want (unlike the Arcadians, a group of fellow Greeks that joins them) is not to survive but to "die a beautiful death" in battle.

Is It Any Good?

At times engrossing and at times laughably over-the-top, 300 is entertaining as an extended war sequence. However, the film falls short of reaching the revolutionary Matrix -like status that the film's creators claim. The whole segment in Xerxes' lair, with its hedonistic sensuality, smacks of stereotypical Orientalism, not to mention some of the grossly depicted Persian soldiers and the disfigured hunchback who plays a central role.

Talk to Your Kids About ...

Families can talk about the Spartans' upbringing and values. Why are 7-year-olds forced to fight each other -- and adults?

Xerxes offers Leonidas what sounds like a sweet deal; why does the king, facing certain death, turn it down?

Movie Details

• In theaters : March 8, 2007
• On DVD or streaming : July 31, 2007
• Cast : David Wenham , Gerard Butler , Lena Headey
• Director : Zack Snyder
• Inclusion Information : Female actors
• Studio : Warner Bros.
• Genre : Action/Adventure
• Run time : 117 minutes
• MPAA rating : R
• MPAA explanation : graphic battle sequences throughout, some sexuality and nudity.
• Last updated : February 8, 2024

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Review: The '300': Ah, the fine-looking fighters of freedom-loving Sparta

By A.O. Scott

• March 8, 2007

300 Directed by Zack Snyder

The film "300" is about as violent as "Apocalypto" and twice as stupid. Adapted from a graphic novel by Frank Miller and Lynn Varley, it offers up a bombastic spectacle of honor and betrayal, rendered in images that might have been airbrushed onto a customized van sometime in the late 1970s. The basic story is a good deal older. It's all about the ancient Battle of Thermopylae, which unfolded at a narrow pass on the coast of Greece whose name translates as Hot Gates.

Hot Gates, indeed! Devotees of the pectoral, deltoid and other fine muscle groups will find much to savor as King Leonidas (Gerard Butler) leads 300 prime Spartan porterhouses into battle against Persian forces commanded by Xerxes (Rodrigo Santoro), a decadent self-proclaimed deity who wants, as all good movie villains do, to rule the world.

The Persians, pioneers in the art of facial piercing, have vastly greater numbers — including ninjas, dervishes, elephants, a charging rhino and an angry bald giant — but the Spartans clearly have superior health clubs and electrolysis facilities. They also hew to a warrior ethic of valor and freedom that makes them, despite their gleeful appetite for killing, the good guys in this tale. (It may be worth pointing out that unlike their mostly black and brown foes, the Spartans and their fellow Greeks are white.)

But not all the Spartans back in Sparta support their king on his mission. A gaggle of sickly, corrupt priests, bought off by the Persians, consult an oracular exotic dancer whose topless gyrations lead to a warning against going to war. And the local council is full of appeasers and traitors, chief among them a sardonic, shifty-eyed smoothy named Theron (Dominic West).

Too cowardly to challenge Leonidas man to man, he fixes his attention on Queen Gorgo (Lena Headey), a loyal wife and Spartan patriot who fights the good fight on the home front. Gorgo understands her husband's noble purpose. "Come home with your shield or on it," she tells him as he heads off into battle after a night of somber marital whoopee. Later she observes that "freedom is not free."

Another movie — Matt Stone and Trey Parker's "Team America," whose wooden puppets were more compelling actors than most of the cast of "300" — calculated the cost at $1.05. I would happily pay a nickel less, in quarters or arcade tokens, for a vigorous 10-minute session with the video game that "300" aspires to become. Its digitally tricked-up color scheme, while impressive at times, is hard to tolerate for nearly two hours, and the hectic battle scenes would be much more exciting in the first person. I want to chop up some Persians too!

There are a few combat sequences that achieve a grim, brutal grandeur, notably an early engagement in which the Spartans, hunkered behind their shields, push back against a Persian line, forcing enemy soldiers off a cliff into the water. The big idea, spelled out over and over in voice-over and dialogue in case the action is too subtle, is that the free, manly men of Sparta fight harder and more valiantly than the enslaved masses under Xerxes' command. Allegory hunters will find some gristly morsels of topicality, but you can find many of the same themes, conveyed with more nuance and irony, in a Pokémon cartoon.

Zack Snyder's first film, a remake of George Romero's "Dawn of the Dead," showed wit as well as technical dexterity. While some of that filmmaking acumen is evident here, the script for "300," which he wrote with Kurt Johnstad and Michael Gordon, is weighed down by the lumbering portentousness of the original book.

In time, "300" may find its cultural niche as an object of camp derision, like the sword-and-sandals epics of an earlier, pre-computer-generated-imagery age. At present, though, its muscle-bound, grunting self-seriousness is more tiresome than entertaining. Go tell the Spartans, whoever they are, to stay home and watch wrestling.

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300: Rise of an Empire

Where to watch.

Rent 300: Rise of an Empire on Fandango at Home, Prime Video, or buy it on Fandango at Home, Prime Video.

What to Know

It's bound to hit some viewers as an empty exercise in stylish gore, and despite a gonzo starring performance from Eva Green, 300: Rise of an Empire is a step down from its predecessor.

Critics Reviews

Audience reviews, cast & crew.

Sullivan Stapleton

Themistokles

Lena Headey

Queen Gorgo

Hans Matheson

Callan Mulvey

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23 Mar 2007

NaN minutes

The word ‘Spartan’ nestles in the English lexicon as a synonym for words like ‘austere’ and ‘disciplined’. But while the Spartans of ancient Greece were all those things and more, none of these locutions captures the essence of this unique people. A better modern-day equivalent to ‘Spartan’ might be ‘belligerent nutcase’, and anyone in doubt need look no further than 300, which stands as an opulent, brutal and bloody declaration of that fact. An adaptation of Sin City creator Frank Miller’s graphic novel, 300 recounts the country’s finest hour: Sparta kicked plenty of ass over the ages, but it was at Thermopylae, in 480 BC, that she earned eternal renown. What those warriors achieved in life (and lots of death) still echoes through eternity.

Trumpeted by its makers as “Gladiator meets Sin City”, the cinematic rendition of 300 is fiercely loyal to its bronze-and-crimson-coloured graphic progenitor and, as such, is as far removed from reality as the last batch of Celebrity Big Brother housemates. Thermopylae was a real battle, the opening salvo of the Second Persian War no less. The Spartan king Leonidas, played here by Gerard Butler, did defend the ‘Hot Gates’ in Northern Greece with 300 hoplites, against an invading Persian army that Herodotus, the ‘father of history’, numbered at one million strong. While modern scholars insist that the Persian horde, vast as it was, totalled no more than 200,000 men, Miller and Snyder prefer Herodotus’ estimate. They also lift from his dialogue (“Then we’ll fight in the shade” is a line from the great historian, for example), although both happily depart from his source material when counting colossal elephants among the Persian forces.

Still, much like a football match between England and Brazil, 300 vs. 200,000 is hardly a fair contest, Leonidas and co. facing laughably overwhelming odds. Unlike the English football team, however, they offered a remarkable display of mettle — and indeed metal — against an army hundreds of times their size. Their story is the stuff of legend, and that thought was paramount in Miller’s mind when consigning his vision to the page. For Miller’s intention was that 300 should be historically _in_accurate — this was his bid to mythologize an actual event, lending to it the power and grace (and a healthy amount of exaggeration) normally associated with classical epic. If the battle at Thermopylae had occurred a millennium earlier, it would no doubt have formed the basis of a legend every bit as fantastic and entertaining as the works of Homer (much more lively than the pallid cinematic offering that was Troy, based on Homer’s The Iliad).

It’s somewhat ironic that whereas Troy, retelling a story rooted in myth, sought to present a world devoid of the unusual, 300, while recounting a story drawn from fact, is as fanciful as any Homeric yarn (cue fat freak with sharpened tusks for arms and a bard with a goat’s head). Snyder is entirely faithful to Miller’s intent, however, and he has cooked up an astonishing visual feast, spinning a tale that at times mimics the graphic novel frame-by-frame, the raucous content just what you’d expect to hear from some ancient, toothless sage telling hero tales around a campfire. In fact, the film is framed as a saga related by the storyteller Dilios (David Wenham, neither ancient nor toothless). It is this mythic conviction that underpins the film’s failings and informs its successes.

Chief among the latter stand the Spartans themselves, Butler and co. sporting as much muscle as a bouncers’ convention and offering a convincing portrayal of a Spartan crack troop. Fighting in nothing more than big pants, helmet and shield, there are more six-packs on show than at an Aussie off-licence, but they largely manage to convey hard-assedness rather than homoeroticism. The Spartan battle formations and fighting styles are entirely accurate, and some of the battle choreography ranks among the finest committed to film. Snyder makes us believe that these Spartans really could dispatch 100 inferior men apiece, and still have the energy to run a marathon afterwards. Crucially, Butler convinces as a leader of men, bellowing orders, wisecracking or bolstering confidence as the occasion demands, leading from the front and laying out several battalions’ worth of the enemy. Leonidas — noble, stubborn and deadly when roused — may be not be complex, but Butler has the conviction and charisma needed to carry it off.

Sadly, he’s hamstrung by the film’s structure and, ultimately, by its direction. The film shoots for epic from minute one, demanding our awe before it’s been earned and painting with strokes so broad that it’s hard to make out such niceties as character, motivation or period detail. Snyder came to the fore with 2004’s Dawn Of The Dead remake, after learning his trade in the world of commercials, and 300, at times, looks a little like a heavy metal video. At one point, when the Spartans trudge forward to engage their enemy, it sounds like one too, a raging torrent of testosterone that is as merciless in its stabbing delivery as the Spartans themselves. In truth, the music is more than a little overcooked throughout, especially in the Gladiator-lite scenes amid the waving barley. And Snyder loves that slo-mo button, ramping the speed of the action up and down during the fight scenes, the better to move smoothly from kill to kill — a technique which, used sparingly, works beautifully, but is indulged too much during the otherwise storming middle act.

That said, Snyder does bid to temper the testosterone levels by injecting a little oestrogen, courtesy of Queen Gorgo (Lena Headey). The Spartan queen is glimpsed in Miller’s work, but Snyder pushes her further to the fore. Her heartfelt speech to the Spartan assembly, while a little public school debating society, is at least couched in believable language, spilling from the tongue of a character who has some claim on our affection. Something which cannot be said of Leonidas and his Spartans.

Nothing is more epic than the tradition of the defiant David standing up to a mammoth and all-powerful Goliath — Homer knew it; Leonidas knew it; Frank Miller knew it; and after watching 300, you will know it too. But you’re unlikely to care, for such is the nature of myth and epic that characterisation and language exist only to serve the story. For all their bravery and bluster, Spartan deaths or injuries pluck no heartstrings — we neither know these men nor care about their fate. For all Butler’s verbal anguish and warrior dexterity, he and his 300 are cartoon characters, simple archetypes of ancient epic, spitting vitriol and wielding weapons but ill-equipped to connect to those watching them on screen. The result is that the conclusion of this, one of the greatest stories ever told, is sadly fumbled.

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• DVD & Streaming
• Action/Adventure , Drama , Sci-Fi/Fantasy , War

Content Caution

In Theaters

• Gerard Butler as King Leonidas; Lena Headey as Queen Gorgo; Dominic West as Theron; David Wenham as Dilios; Vincent Regan as Captain; Michael Fassbender as Stelios; Tom Wisdom as Astinos; Andrew Pleavin as Daxos; Andrew Tiernan as Ephialtes; Rodrigo Santoro as Xerxes; Stephen McHattie as Loyalist

Home Release Date

• Zack Snyder

Distributor

• Warner Bros.

Movie Review

“Go tell the Spartans, stranger passing by, that here, obedient to their laws, we lie.”

So says a stone epitaph in Thermopylae, Greece, commemorating 300 Spartan warriors who sacrificed their lives in an epic battle against the invading forces of the Persian king Xerxes in 480 B.C. Based on a graphic novel by Frank Miller (Sin City) , 300 mythologizes and immortalizes these soldiers’ absolute commitment to secure their homeland from tyranny.

The story begins amid political discord. On the eve of Xerxes’ invasion, a Spartan oracle has foretold doom if the city’s king, Leonidas, sallies forth into combat during an important religious festival. But the ferocious Leonidas—the epitome of Sparta’s fiercely disciplined martial culture—puts little stock in the gods’ supposed warning. Defying the oracle and the city’s governing council, Leonidas takes leave of his wife, Queen Gorgo (a lioness in her own right), and marches with 300 men from his personal guard to meet the enemy.

Leonidas’ plan to defeat Xerxes’ 100-nation force—which numbers in the hundreds of thousands—requires defending a narrow mountain pass near the sea known as the Hot Gates— Thermopylae in Greek. Joined by 700 volunteer fighters from Thespiae, Leonidas and his professional soldiers prepare to take their stand. Defeat is likely, but they believe their sacrifice will buy time for the city-states of Greece to rally a larger army (a cause Gorgo pursues in her husband’s absence).

The Spartans’ fabled military prowess handily repels the first waves of Xerxes’ army. Neither Xerxes’ elite “Immortal” troops, cavalry, a rhinoceros nor even elephants can dislodge Leonidas and his men from the pass. Enter: treachery and betrayal. History (and this movie) tells the rest.

Positive Elements

Leonidas and Gorgo repeatedly make impassioned speeches about the values Sparta holds dear. These include glory, reason, justice, respect, family and freedom. Bravery is hardly a strong enough word to describe these warriors’ fearlessness. Dying on Sparta’s behalf is the highest possible honor, which yields statements such as Gorgo’s words to her husband as he departs: “Come back with your shield or on it.”

Spartan war tactics depend on interdependence. Leonidas says, “A Spartan’s strength is the warrior next to him.” The king’s willingness to sacrifice himself for his men contrasts with Xerxes’ megalomania; the Persian ruler willingly sends hundreds to their death with no concern for their welfare. The only men Leonidas invites to join his war party are those with sons, lest any family’s line be wiped out.

Leonidas and Gorgo enjoy a strong marriage as equals (in a culture that’s known for generally treating women as second-class citizens). Leonidas also displays affection for his 6-year-old son. And he teaches him, “Fear is constant. Accepting it makes you stronger.”

A soldier known as Captain regrets never telling his son, who’s perished in battle, how he truly felt. “I don’t regret that he died. I regret that I never told him I loved him the most. He stood by me with honor. He [represented] all that was best in me.” A mortally wounded Spartan says to his king, “It is an honor to die by your side.” Leonidas replies, “It’s an honor to have lived at yours.” The only words Leonidas wants delivered to his people are simply, “Remember us.”

Spiritual Elements

Spiritual content in 300 revolves around two axes: the Greek belief in a pantheon of gods and oracles who communicate with them; and Xerxes’ insistence that he is a god to be worshiped.

Leonidas visits an oracle, an entranced young woman who’s “tended to” (more on that below) by horribly disfigured men called Ephors. While there, Leonidas is told, “Trust the gods. Your blasphemies have cost us enough already.” The king dismisses the Ephors as “diseased old mystics.” In passing, Leonidas tells his troops to “pray to the gods.” A storm that sinks many Persian ships is attributed to Zeus’ wrath.

Xerxes is frequently described (by himself and his underlings) in divine terms, such as “god of gods,” and he mimics scriptural language when he says things about himself such as, “The lord of hosts is prepared to forgive all.” He speaks of his divine power and promises (almost like Satan’s temptation of Jesus) to make Leonidas the warlord of all Greece if he submits. His Immortals are described as “Persian ghosts, hunters of men’s souls.”

Sexual Content

The oracle is barely clothed in a gauzy sheet that reveals her breast. It’s implied that the Ephors use her sexually at will, and one licks the oracle’s neck as she delivers her prophecy. A graphic sex scene between Leonidas and his wife includes movement, his uncovered rear and several shots of her breasts. Xerxes invites Ephialtes into his harem and uses promises of sexual pleasure to get him to betray the Spartans. Several women are topless and kiss one another in this sensual, orgy-like scene; others are nearly naked.

Queen Gorgo’s chief opponent on the council is a devious man named Theron; in exchange for his help, she allows him to have his way with her. It’s implied (as he violently grabs her) that he’s virtually raping her. (We briefly glimpse her robe fall to the ground.)

Spartan women, especially the queen, wear cleavage-baring robes without undergarments. The Spartan warriors themselves fight shirtless, and the camera often focuses on their physiques. An offhand reference is made to Athenians being “boy lovers.”

Violent Content

Let’s put it this way: Neither torsos nor appendages fare well in 300 . Perhaps thousands of soldiers find themselves on the receiving end of spears, swords and arrows for about an hour and 15 minutes of this two-hour film. A giant is knifed in the eye. Extremities get hacked off (at least three heads, half-a-dozen arms, legs, hands, etc.). After one decapitation, the father of that soldier cradles his son’s headless body (the head lies nearby). Spartans repeatedly wander the battlefield skewering unfortunates who’ve not quite perished yet. (“No mercy” is a Spartan watchword.) Add to such brutality scenes depicting piles of corpses—some skewered on stakes, others “attached” to a tree with arrows and still others used to construct a defensive wall—and you’ve an epic amount of violent imagery in this film.

Non-battlefield violence includes Leonidas spearing a wolf in the mouth as a youth; 7-year-old Spartans-in-training pummeling and bruising each other; older boys receiving whip lashings to learn how to resist pain; a soldier’s wound being cauterized by white-hot metal; and Queen Gorgo stabbing (and killing) a traitorous Spartan. When a herald of Xerxes arrives in Sparta dangling a chain of skulls for emphasis, Leonidas shoves him and several members of his party into a seemingly bottomless pit. Xerxes’ executioner is a monstrosity of a man whose arms have been replaced with blades (which he dutifully uses to dislodge heads of failed generals).

Crude or Profane Language

In telling a story about a war hundreds of years before the time of Christ, filmmakers weren’t able to logically include abuses of His name. Likewise, they knew it’d be a pretty far stretch to include f-words or s-words. So this R-rated-in-every-other-way movie fades to credits with only one mild profanity (“h—uva) to its name.

Drug and Alcohol Content

Leonidas describes the oracle as “a drunken adolescent girl”—and she definitely looks as if she’s in an artificially induced stupor. During the orgy sequence in Xerxes’ tent, some of the people in the background hold goblets presumably containing wine.

Other Negative Elements

Sparta’s devotion to warcraft has a terrible dark side. When baby boys are born, they’re evaluated for physical defect. Imperfect newborns are discarded into a pit to die. (We see a pile of skulls indicating this happens regularly.) Spartan law also makes retreat from battle illegal. Not surprisingly, revenge and glory are closely connected. When Captain tells Leonidas, “I fill my heart with hate,” the king replies, “Good.”

Ephialtes is a disfigured, hunchbacked man whose father was a Spartan but fled the city because he refused to kill his misshapen son. He raised Ephialtes to be a true Spartan warrior. But the man’s deformities prevent him from functioning as an equal. Embittered, Ephialtes betrays his people.

The queen is greeted with derision by the Spartan ruling council, which normally would refuse to let any woman, even a queen, speak to them. When Theron betrays her before the council, she spits in his face. Both the Ephors and Theron are secretly taking bribes from Xerxes to keep the Spartans out of battle.

I can’t remember the last time I went to a movie so violent and tragic. But that’s only the first half of the sentence. Because afterwards, I watched as scores of moviegoers (mostly men) walked to their cars laughing and pounding each other on the back. You’d have thought we’d all just seen Top Gun for the first time. Such is the influence of the latest big-screen Frank Miller adaptation, a hyper-violent, hyper-masculine ode to honor and duty by way of blood, blood and more blood. Did I mention the blood ?

Stylistically, 300 ‘s melees recall the Wachowski Bros. Matrix trilogy and V for Vendetta . Just as those films raised the visual-effects bar, so 300 could well become a new cinematic benchmark. Combat feels dance-like in its choreography, alternating between real time and slow motion. This results in highly stylized violence—which is all the more emphasized by plumes of blood erupting from combatants’ wounds. Regarding the film’s look, director Zack Snyder commented, “It’s not trying to be reality. The blood is treated like paint, like paint on a canvas. It’s not Saving Private Ryan .” Snyder also admitted he was more interested in creating visually compelling shots than he was recreating historically accurate fight scenes. “It’s bulls—,” he said of some combat elements, “but it looks good.”

Looking good felt to me like Gladiator on steroids—with several graphic sex scenes tossed in to add titillation. Despite its consistent and at times moving emphases on duty and sacrifice, family and freedom, this blood-bathed epic remains so thoroughly saturated with visceral imagery that those virtues risk getting buried in battle.

Given that, I think I can safely say that the enthusiasm of the crowd I witnessed had much less to do with the film’s positive themes than the fact that the filmmakers have managed to make slaughter (and sensuality) look so very cool.

Adam R. Holz

After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.

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T he political and media classes of Iran are reportedly up in arms about this fantastically silly retelling of the Battle of Thermopylae in 480BC, co-produced by Frank Miller, author of the pulpy shocker Sin City, and also the graphic novel on which this movie is based. With the kind of tremulous fervour that only prepubescent boys can work up on the subject of war, it recounts how the barbarous invading hordes of Persia were heroically held back by just 300 oiled and muscly Spartan warriors long enough for the Greek armies to regroup and for Athenian democracy - and by implication, all our inherited western values - to be saved for ever more. Iranian commentators, sudden and quick in quarrel, have found the slight intolerable. These people will presumably now redouble their commitment to historical sensitivity with another Holocaust Denial Conference.

And anyway, please. The Persians aren't made to look that bad. If they were, they'd be played by Brits. As it is, their leader, King Xerxes, is semi-nude (like everyone else) with loads of ethnic-looking body jewellery and he is played by pert Brazilian actor Rodrigo Santoro, last seen almost getting off with Laura Linney in Love, Actually and almost getting off with Nicole Kidman in Baz Luhrmann's multimillion dollar Chanel ad.

It's the Spartan King, Leonidas, who is played by a Brit: the grizzled, masculine, shouty figure of Gerard Butler, like a poor man's Russell Crowe. He's even shown in a rippling cornfield with his lady wife, like the great Gladiator of old. Like the other 299 warriors, he models an unattractive pair of trunks, looking like no one so much as the legendary 1970s English wrestler Mick McManus, although Mick never had those twin slabs of pecs and the kind of ripped abs that come from 1,000 crunches a day - or at any rate a fair bit of digital tweaking in post-production.

The biggest laugh comes when Leonidas, while striding purposefully around in his dun-coloured pants, gruffly denounces the culture of Athens as "poets and boy-lovers!" Oh Leonidas! Do you really want to go there, your Majesty? Do you really want to poke the lid of that worm-filled can with your great big Spartan spear? I had a feeling that, whatever the historical reality of the Spartans' sexual conventions, the Spartan armourer here should have been working overtime running up the 300 handbags necessary for the kind of martial contest for which this vast platoon of gym-bunnies is most obviously fitted. The Spartans were historically joined by Thespians, and frankly they are all Thespians in spirit. I don't think I have ever seen a more unintimidating bunch. Were they up against Ron Weasley, Hermione Granger and Hyacinth Bucket we would see 300 arses - that is to say 600 tastefully smudged, semi-revealed Spartan buttocks - getting well and truly kicked. The silliest-sounding one is the Australian actor David Wenham, who has a strangulated English accent, as if he is auditioning to be a commentator on Test Match Special.

Xerxes commands a vast force and moreover has at his disposal a number of gigantic beasts, real and legendary, along with weird claw-handed giants whose job is to decapitate underperforming generals pour encourager les autres. He arrogantly sends word to Sparta, demanding of Leonidas some token form of submission: a tribute of earth and water. Leonidas refuses, kicks the Persians' emissary into a well, and slaughters the rest of the messenger's entourage too, apparently reckoning that, in the richness and fullness of time, their non-reappearance back in the Persian camp will tell Xerxes all he needs to know. Yet a corrupt cadre of Spartan priests, given to slobbering loathsomely over beautiful dancing girls, tries to tell Leonidas that the time is not propitious for Sparta to go to war. These hideous misshapen old men - and I have never seen a film go in quite so enthusiastically for the ugly-equals-wicked equation - are in the pocket of Sparta's most duplicitous and corrupt politician Theron, played by Dominic West.

Theron's most abysmal act of wickedness, while the King is away, is to force himself upon Leonidas's queen, played in full spirited-filly mode by Lena Headey . "This will not be over quickly," he hisses malevolently into her ear. "You will not enjoy this." I checked my watch at this stage, and found that on this issue, Theron had a point.

And yet it has to be said that there is a level of cheerfully self-aware ridiculousness, which means that 300 is not entirely without entertainment value. Pundits might be pretty quick to invoke Leni Riefenstahl in connection with this movie, and certainly Nazi Germany did indeed have a belligerent-sentimental soft spot for the Spartans at Thermopylae. But no one could possibly take it seriously, and surely no one in their right mind in the US could find in Frank Miller's homoerotic battle fantasy of Thermopylae an incitement to war against Iran. Apart from anything else, the idea of America having the Spartans' underdog status is not plausible.

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• In the ancient battle of Thermopylae, King Leonidas and 300 Spartans fight against Xerxes and his massive Persian army. They face insurmountable odds when they are betrayed by a Spartan reject.
• In the Battle of Thermopylae of 480 BC an alliance of Greek city-states fought the invading Persian army in the mountain pass of Thermopylae. Vastly outnumbered, the Greeks held back the enemy in one of the most famous last stands of history. Persian King Xerxes led a Army of well over 100,000 (Persian king Xerxes before war has about 170,000 army) men to Greece and was confronted by 300 Spartans, 700 Thespians, and 400 Thebans. Xerxes waited for 10 days for King Leonidas to surrender or withdraw but left with no options he pushed forward. After 3 days of battle all the Greeks were killed. The Spartan defeat was not the one expected, as a local shepherd, named Ephialtes, defected to the Persians and informed Xerxes that the separate path through Thermopylae, which the Persians could use to outflank the Greeks, was not as heavily guarded as they thought. — cyberian2005
• 480 B.C. When a Persian envoy arrives at the gates of Sparta, Greece, demanding submission to King Xerxes, brave King Leonidas sends word to the Persian ruler that Spartans will never give up their rights over their land. As enraged King Xerxes dispatches armed-to-the-teeth multitudes of Persian soldiers to Thermopylae, a narrow coastal passage of strategic significance, King Leonidas and just 300 of his finest royal bodyguards march against the invading army, refusing to bow to the all-powerful enemy. And although the Spartans were vastly outnumbered, King Leonidas' men crushed wave after wave of superior Persian forces--a fierce, winner-take-all confrontation that would go down in the annals of history as the legendary Battle of Thermopylae. — Nick Riganas
• In 480 BC, the Persian king Xerxes sends his massive army to conquer Greece. The Greek city of Sparta houses its finest warriors, and 300 of these soldiers are chosen to meet the Persians at Thermopylae, engaging the soldiers in a narrow canyon where they cannot take full advantage of their numbers. The battle is a suicide mission, meant to buy time for the rest of the Greek forces to prepare for the invasion. However, that doesn't stop the Spartans from throwing their hearts into the fray, determined to take as many Persians as possible with them. — rmlohner
• Spartan customs are harsh. The Spartans inspect each infant born to ensure it is whole - if it is deformed, the baby is abandoned to die. They raise their boys in the school of hard knocks, the agoge - in combat training, a small boy's loss of his weapon earns a bloody lip from the hand of his own father. At age 7, each young boy is torn from his mother and makes his own way in the wilderness, to return a man. Even the King endures this rite of passage. At age 15, young King-to-be Leonidas ( Tyler Neitzel ) lures a wolf into a narrow passage so that he can kill it. He returns home to be crowned King. Years later, messengers visit King Leonidas ( Gerard Butler ) requesting Sparta's submission to King Xerxes ( Rodrigo Santoro ). Insulted by their attitude, King Leonidas kicks the messengers into a well. Acknowledging the threat of Xerxes's invasion force, he visits the Ephors (priests) to obtain their favour before sending the Spartan army in battle. He proposes to repel the numerically superior enemy by using the terrain of the Hot Gates of Thermopylae, funneling the Persians into a narrow pass between the rocks and the sea, where their immense numbers will "count for nothing." The Ephors, wary of the plan, consult the Oracle ( Kelly Craig ). In her drugged trance she decrees that Sparta must not go to war, lest they interrupt the sacred Carneian festival. Leonidas departs in anger, and the priests receive their bribe of Xerxes' gold from the Spartan traitor, Theron ( Dominic West ), for their negative response. Leonidas is reluctant to defy the corrupt clergy outright, but his wife ( Lena Headey ) encourages him to think outside the box. Leonidas elects to take 300 of his best soldiers as his "bodyguard" on a leisurely walk to the strategic Hot Gates location. His wife says goodbye, telling him to come back "with his shield or on it", and gives him a necklace. On the road they meet some allies, who are shocked that the Spartans are sending such a small force. Leonidas asks the professions of the allied army, who are craftsmen and artisans. He points out that he has brought more soldiers than they. Joined by Arcadians and other Greeks, they arrive at Thermopylae. In sight of the approaching Persian army, they construct a wall to contain the Persians' advance. Strong storms destroy some of Xerxes fleet, but it is only a small percentage of the massive army they will face. A horribly disfigured man, Ephialtes ( Andrew Tiernan ), comes to see Leonidas to warn him of a disused goat path at the rear of his position. Ephialtes claims that his parents fled Sparta at his birth to save his life. He hopes to redeem them by fighting for Leonidas. Leonidas explains that each Spartan warrior is a key part of the phalanx, and asks Ephialtes to show that he can lift his shield high enough to properly defend his fellow warriors. When it becomes evident that he cannot, Leonidas gently tells him to care for the fallen instead. Ephialtes' fondest hopes are crushed. A Persian emissary arrives, and finds that the corpses of the previous scouting party now make up part of the large rock wall. The Persian states that their arrows will blot out the sun, and the Spartans agree they will simply fight in the shade. The emissary's party is killed. Prior to the battle the Persians demand that the Spartans drop their arms and surrender. Leonidas refuses and challenges the Persians to come and take their weapons from them. With their tightly-knit phalanx formation, the Spartans funnel the Persians into the narrow terrain, repeatedly rebuffing them and inflicting heavy casualties. Xerxes, impressed with Spartan fighting skill, personally approaches Leonidas to persuade him to surrender. He promises Leonidas wealth and power in exchange for his loyalty. Leonidas declines, promising instead to make the "God King" bleed, and turns to rejoin his army. Dismayed at the refusal, Xerxes sends his masked personal guard, "The Immortals", which name the Spartans also prove false. The battles continue, with the Spartans prevailing over soldiers and animals drawn from the vast reaches of the Persian empire: from Mongolian barbarians and Eastern chemists to African rhinoceroses and Indian war elephants. However, some of the brave Spartan warriors are killed, and it becomes clear that more will follow. Ephialtes goes to Xerxes, and agrees to show the goat path to the Persians in exchange for a uniform, along with promises of women and wealth. Xerxes will grant Ephialtes his wish if he will kneel before the god king. Back in Sparta, Queen Gorgo has been trying to convince the council to send help to Leonidas. A friendly councilman arranges for her to speak, but explains that she will need Theron on her side. Theron agrees to help her if she will sleep with him - so she does. At the Hot Gates, the Spartans learn they have been betrayed, and know their fight is doomed. The Arcadians retreat in the face of certain death. The Spartans refuse to follow. Leonidas orders a reluctant Dilios to return to Sparta and tell of their inevitable deaths. In Sparta, Queen Gorgo makes her appeal to the council. Instead of supporting her as promised, Theron betrays her, accusing her of adultery. Enraged, Gorgo snatches a sword and stabs Theron, rupturing a bag of gold hidden in his robe. As the coins stamped with Persian markings spill onto the ground, the Council realizes Theron's treachery and agree to unite against Persia. At the Hot Gates, as the Persians surround the Spartans, who have created a dome out of their shields. Leonidas stands along in front of the dome. Xerxes's general demands their surrender, declaring that Leonidas may keep his title as King of Sparta and become Warlord of all Greece, answerable only to Xerxes. Ephialtes urges this as well, to which Leonidas remarks, "May you live forever," an insult from a culture valuing death and valor in battle. Leonidas drops his shield and removes his helmet, seemingly bowing in submission. Stelios then bursts out of the dome and leaps over his king and kills the general. A furious Xerxes orders his troops to attack. As Persian archers shoot the remaining Spartans, Leonidas rises and hurls his spear at Xerxes, ripping open his cheek, thus making "the God-King bleed." Xerxes, visibly shaken by this reminder of his own mortality, watches as the remaining Spartans perish beneath the combined might of his army. Leonidas himself marks his final moments by telling his wife aloud that he loves her. A rain of arrows falls upon him and the screen goes black. Back in Sparta, Dilios gives the necklace to Queen Gorgo and tells her of her husband's fate. Concluding his tale before an audience of attentive Spartans, Dilios declares that the 120,000-strong Persian army that narrowly defeated 300 Spartans now faces 10,000 Spartans commanding 30,000 Greeks. Praising Leonidas's sacrifice, Dilios leads the assembled Greek army into a fierce charge against the Persian army, igniting the Battle of Plataea.

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Josho Brouwers 21 March 2014

Good quotes

To Athens and Sparta he did not send heralds to demand earth for the following reasons. On a former occasion, when Darius sent for the same purpose, the former having thrown those who made the demand into the barathrum [a deep pit in Athens in which certain criminals were thrown], and the latter into a well, bade them carry earth and water to the king from those places.

Elements of Spartan culture

The overall plot, omissions and unnecessary additions, errors and anachronisms, the monstrous persian army, an army of slaves, portrayal of king xerxes, closing remarks.

By Peter Travers

Peter Travers

The ads tell you to “prepare for glory” as 300 Spartans go to war against an army of Persians, numbering 250,000, in the film version of Frank Miller’s graphic novel about the 480 B.C. Battle of Thermopylae. My advice is to prepare your eyes for popping — hell, they just might fly out of their sockets — in the face of such turbocharged visuals. Those who saw Robert Rodriguez’s 2005 film of Miller’s Sin City , will have some idea of what’s in store: Actors perform against blank screens on which backgrounds are drawn to represent the panels Miller created for Dark Horse Comics in 1998. There are times when the process, however stunning, can suck the air out of a scene and make the viewer feel boxed in. But director Zack Snyder, who did a bang-up job on the remake of Dawn of the Dead , keeps the action roaring. Spears, swords and other handy phallic symbols pierce skin with startling regularity, causing great gushes of cartoon blood that make it really sticky for guys to walk in sandals.

And what guys! Decked out like gladiators in a gay fashion layout, the soldiers from the Greek city-state of Sparta look gym-ready for battle in crotch-squeezing ensembles that expose as much flesh as an R rating will allow. Manliest of all is The Phantom of the Opera ‘s Gerard Butler as Leonidas, the king with no patience for the cowards and boy-lovers on the Greek council. Dominic West plays Theron, a sleazy politician keen on stopping Leonidas from inciting war against the Persians. Theron denigrates the theory that the Persians intend to dominate the world and unleash their weapons of mass destruction, including mutant rhinos, elephants and a masked army called the Immortals. That leaves Leonidas no choice, after a short break to refresh the missus, Queen Gorgo (Lena Headey), but to round up 300 of his bravest bodyguards and embark on a doomed mission against the Persians. The king does everything but sing Bruce Springsteen’s “No Surrender” to rally the troops. The trick is to bottle up the pesky Persians in a narrow mountain pass.

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As you might guess, 300 dazzles as spectacle, but as history it’s dodgy. The film’s queer eye focuses hard on Xerxes (Rodrigo Santoro), the Persian king who fancies himself a god and keeps insisting that Leonidas get on his knees before him. Leonidas has more than a touch of Mel Gibson in him, and he will not comply. This causes Xerxes to pout and add more jewelry to his body armor. Meanwhile, back home in Sparta, Queen Gorgo tries to persuade Theron to rally the council to help her husband by submitting to Theron’s S&M sexual desires. He backs her against a wall, lifts her toga and drills away with few murmurs about how “this will not be over quickly, and you will not enjoy it.” But since we’re in Miller territory, you can bet Gorgo will make Theron gag on his words.

The rest is all battle, all the time. And fanboys will thrill to the carnage and presumably forgive the puffed-up dialogue and regrettable lack of characterization. 300 is a movie blood-drunk on its own artful excess. Guys of all ages and sexes won’t be able to resist it.

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Kingdom of the Planet of the Apes takes the series in a different direction

Civilisation has crumbled, culture has been lost, and humans have been reduced to feral, slow-witted creatures who can no longer form intelligible words. What better place to film it all than Australia?

Shot at Disney Studios in Sydney and on location in the wilds of New South Wales, Kingdom of the Planet of the Apes is a sequel to the 2011–2017 simian trilogy, set many generations after the reign of the legendary chimpan-A, Caesar (Andy Serkis, taking a well-deserved break from this latest instalment).

Earth is now overrun with apes who've formed themselves into regional clans. Primitive villages — not unlike those of the original 1968 movie — have sprung up across the land. The ruins of human cities, meanwhile, have been largely reclaimed by nature, their history and technology now a distant memory to all but the oldest apes — keepers of a secret knowledge that could threaten the newly dominant species.

What humans remain have been driven into hiding, mute scavengers left to scrape by in the shadows. The apes call them — in a neat, poetic touch — "the echo."

It's not exactly a utopia. The movie's new chimp hero, Noa (Owen Teague), is spurred into action when his peaceful village is burned to the ground by a band of gorilla-led marauders, who murder his father and take the rest of his family captive.

Dressed in spooky masks and wielding cattle-prods, these guys don't monkey around: they're foot soldiers of the fearsome Proximus Caesar (Kevin Durand), a power-hungry chimpanzee hell-bent on consolidating the clans, ruling the planet and exterminating the remaining traces of humankind.

So begins a quest for revenge, with Noa roaming the forests and teaming up with the wise orangutan Raka (Peter Macon, giving the film's warmest, funniest performance), an ancient keeper of lore who yearns for peace between humans and apes — and bemoans the murders done in Caesar's name.

Also tagging along is a stray human girl (Freya Allan, of TV's The Witcher), who appears to be thoroughly feral — or at least smells as such, much to Noa and Raka's amusing displeasure.

"We shall call her Nova," says Raka. "We call them all Nova. I do not know why."

It's one of the few moments of genuine levity in this grim, rather earnest movie — spontaneity being hard to come by in a $165-million blockbuster whose motion-capture precision means scenes are mapped out months in advance of the shoot. (As always, Weta FX's mo-cap work here is exquisite, though the absence of Serkis — and his robust, energising performance — is a hole the new movie struggles to fill.)

Despite some pretty anonymous direction by Wes Ball (The Maze Runner trilogy), Kingdom does rouse itself in its gladiatorial final third, when our heroes are captured and delivered to the stronghold of Proximus — a shipwreck in which the great ape has enslaved his kin in a desperate bit to unlock a hidden fortress of human technology. (William H. Macy is also there, for some reason, as a human who's sold his services to the apes; I hope he had a nice holiday.)

His methods might be lousy, but you can't exactly fault Proximus on his ambitions, given the memory of humanity's cruelty. What they eventually uncover won't do too much to sway his conviction.

Still, these revelations are snoozers for a series that began with pop cinema's greatest-ever twist ending, one whose tangled mythology forced its filmmakers into ever-greater quantum leaps of loopy invention: blowing up the planet; sending ape-astronauts back through time; having humanity accelerate its own demise by enslaving the descendants of those time travellers.

Those early films also pulled no punches in painting mankind as the monsters — and made sure they got what the deserved, in often hilariously bleak ways.

By comparison, this newer series has crawled along a more familiar, linear trajectory — four movies in and they've inched to a place the audience is already many steps ahead of — while the original films' brutal analogies for man's cruelty have been replaced by a more standard hero's journey.

Realism, too, has robbed the series of its strange delight; there's something infinitely more pleasurable about seeing hammy actors in ape costumes — it somehow enhanced the sense of play, of the uncanny.

One of the issues seems to be that Kingdom, like its predecessors, can't seem to let go of its sympathy for humanity — despite all the evidence of its hubris — resulting in yet another movie that tries to play both sides, to cultivate a hope for co-existence that feels disingenuous to the series.

Kingdom of the Planet of the Apes has its moments, but its insistence on playing things down the middle feels like a betrayal of the series' bitter, satirical origins.

Kingdom of the Planet of the Apes is showing in cinemas now.

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'Kingdom of the Planet of the Apes' review: Simian, begin again

S trange thing: The recent 2011-17 films in the “Planet of the Apes” franchise, now joined by the chapter opening this week, follow a similar narrative cycle of peril, punishment, survival. And yet these these movies, spaced out in ways Marvel never learned to respect, feel just fresh enough to matter — as long as you don’t mind the adverb “grimly” in front of a word like “compelling.”

“Kingdom of the Planet of the Apes” leaps roughly 300 years into the future, after the death of the great Caesar, rough-hewn, tender-hearted warrior leader. In the 2011-17 trilogy, Andy Serkis made this motion-captured ape king wholly his own, emotionally as well as physically. He’s gone now. But building on those films’ technology, the amalgam of motion-capture techniques and astonishingly subtle digital artistry in “Kingdom” represent the visual gold standard in big-budget screen fantasy. Shooting largely in real locations (as opposed to virtual, video-wall sets a la “The Mandalorian”) lends the texture, well, real texture. I appreciate it, especially having never fully recovered from the canned, lemme-outta-here quantum realm in “Ant-Man and the Wasp: Quantumania.”

“Kingdom,” directed by Wes Ball of the “Maze Runner” trilogy, works quite well as a stand-alone, no intimate knowledge required of where things stood in 2017 at the close of “War for the Planet of the Apes.” Our central figure this time is the chimpanzee Noa (Owen Teague), whose eagle-trainer father is the king of the peaceable but ever-vigilant tribe. In the “Valley Beyond,” and beyond, lurks a vicious rival clan, armed with deadly cattle-prod-like weaponry and a penchant for tense if repetitive scenes of village decimation and rampant slaughter that go on a bit. (The new film runs two hours and 25 minutes, making it the longest in the series.)

Grieving and determined to avenge some highly personal losses, Noa heads out in search of survivors and his destiny. He’s accompanied by the feral human woman Mae (Freya Allan), who serves as the audience’s reminder that while apes are running the show, others wait in the wings, and if we don’t learn to coexist we’re doomed to repeat the harsh lessons of previous “Planet of the Apes” movies.

Noa’s cherished ape friends include Anaya (Travis Jeffery) and Soona (Lydia Peckham), and there’s a lovely orange orangutan Noa and Mae meet along their perpetually dangerous trek. His scenes are the balm the on-screen ordeals need.

Screenwriter Josh Friedman varies the rhythms and the threats satisfyingly for a good long time, a little past the halfway mark. Once Noa and the film arrive at the tyrannical oceanfront compound of the bonobo heir to Caesar, aka Proximus Caesar (Kevin Durand), “Kingdom” settles for a heavier beat and some excess baggage. William H. Macy plays the other key human on screen, a raggedy Shakespearean fool in thrall to Proximus Caesar.

They’re consistently impressive, for lots of reasons. Now: Are these movies fun? I’m not sure we ever go to a “Planet of the Apes” movie for easygoing escapism. The going is rarely, if ever, easy, for the apes we care about. “Kingdom” lays on the cruelty, braking right at the edge of manipulative gall. For all that, though, these films actually seem to care about the fate of the planet, and the possibility of human and simian progress. Noa is a genuinely touching creation, no little thanks to the expressive pain and fear and pathos finessed, artfully, by Teague in the motion-capture stage.

What I wrote a decade ago about Serkis and Caesar in “Dawn of the Planet of the Apes” applies anew to “Kingdom.” In close-up, “we believe there is an actor, a real actor, in there, behind the eyes of the digital creation. And this is why the film, despite its bloat and its overfondness for scenes of massacre, feels as if it were made by actual humans.”

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KSL MOVIE SHOW

KSL Movie Show review: ‘Kingdom of the Planet of the Apes’ has great action and a few minor setbacks

May 10, 2024, 6:00 AM | Updated: 10:29 am

BY STEVE SALLES

KSLNewsRadio

Editor’s note: This is an editorial piece. An editorial, like a news article, is based on fact but also shares opinions. The opinions expressed here are solely those of the author and are not associated with our newsroom.

SALT LAKE CITY — It was with some trepidation, that I was soon to review yet another “Planet of the Apes” movie on the heels of such a rewarding reboot franchise, especially given that Caesar (played brilliantly by Andy Serkis) would not return.  

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And here’s where it gets really interesting. Some twist Caesar’s teachings to serve their own interests, while others look to Caesar as a revered teacher and prophet-like character for future generations. 

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The ksl movie show  with andy farnsworth and steve salles airs fridays on ksl newsradio from 11 a.m. to 1 p.m. follow the show  on facebook,  and join the ksl movie show club for exclusive perks by texting movie to 57500., we want to hear from you..

Have a story idea or tip? Send it to the KSL NewsRadio team here .

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