[SIZE= 19px]Capsule/Summary ***[/SIZE]
[SIZE= 15px]The Greek-mythology based sequel,[/SIZE][SIZE= 15px] Wrath of the Titans[/SIZE][SIZE= 15px] aspires to be nothing more than an effects heavy monster-battle action spectacle. While it does not attempt to exceed audience expectations, it succeeds at meeting them through a more relentless pacing and an improved cast of secondary characters compared to its 2010 predecessor. It is presented on Blu-ray disc with outstanding audio and video and a comprehensive, if a bit unwieldy to navigate, set of extras focusing both on the film’s production and the story’s mythological origins.[/SIZE]
[SIZE= 24px]Wrath of the Titans[/SIZE]
[SIZE= 19px]Directed By: Jonathan Liebesman[/SIZE]
[SIZE= 19px]Starring: Sam Worthington, Rosamund Pike, Bill Nighy, Edgar Ramirez, Toby Kebbell, Danny Huston, Ralph Fiennes, Liam Neeson[/SIZE]
[SIZE= 15px]Studio: Warner Bros.[/SIZE]
[SIZE= 15px]Year: 2012[/SIZE]
[SIZE= 15px]Rated: PG-13[/SIZE]
[SIZE= 15px]Film Length: 99 Minutes[/SIZE]
[SIZE= 15px]Aspect Ratio: 16:9[/SIZE]
[SIZE= 15px]Subtitles: English SDH, French, Spanish, Portuguese[/SIZE]
[SIZE= 15px]Release Date: June 26, 2012[/SIZE]
[SIZE= 15px] [/SIZE]
[SIZE= 19px]The Film ***[/SIZE]
[SIZE= 15px]Wrath of the Titans[/SIZE][SIZE= 15px] is the sequel to the greek-mythology derived 2010 action effects extravaganza [/SIZE][SIZE= 15px]Clash of the Titans[/SIZE][SIZE= 15px] (which was in turn a remake of the 1981 film of the same name produced by stop-motion special effects wizard Ray Harryhausen). Events take place a decade or so after the events of the first film, with demi-god Perseus (Worthington), son of Zeus (Neeson), embracing his human side and living as a fisherman and widowed single father of a boy named Helius (Bell) . Hades (Fiennes) and Ares (Ramirez) conspire to imprison Zeus and the other gods in the Underworld prison of Tartarus and siphon their power to release the imprisoned Titan Cronus. These events result in various forms of havoc being unleashed on Earth. When Perseus learns that said havoc is merely prelude to an end of days scenario, he takes his armor and sword out of storage and begins a quest to travel to the Underworld and prevent it. Accompanying him on his journey are Andromeda (Pike), who has morphed from damsel in distress to warrior queen over the ensuing decade, and Agenor (Kebbell) a less naturally heroic demi-god who is the son of Poseidon (Huston).[/SIZE]
[SIZE= 15px]When [/SIZE][SIZE= 15px]I reviewed the Blu-ray release of 2010’s [/SIZE][SIZE= 15px]Clash of the Titans[/SIZE][SIZE= 15px], my general observation was that the film aspired to be nothing more than a high-tech updating of an old-fashioned monster movie. Nothing has changed in that regard with its sequel, but a few improvements have been implemented to help achieve its unambitious goals more successfully. The previous film had a drawn out first half-hour that took its time setting up a plot that was not that complicated and establishing characters that were even less complicated. In this sequel, director Jonathan Liebesman introduces special effects heavy monster mayhem within the first ten minutes and keeps it coming at a regular cadence for the remaining hour and a half. The screenplay is constructed as a “one damn thing after another” hero’s quest with each action set-piece being quickly followed by a set-up of a new objective that leads to the next set-piece. [/SIZE]
[SIZE= 15px]Individual sequences are similarly briskly paced such that the viewer has no time to reflect on the occasional lapses in logic contained within them. By way of example, in the film’s first major action set-piece, Perseus is motivated to pick up his sword for the first time when an attacking chimera threatens his son. Throughout the sequence, Perseus keeps telling his son to run away and yet everywhere Helius goes, the chimera seems to follow. There is no established reason why the chimera would be following this one kid rather than any number of other tasty looking villagers, but I never really pondered this until well after the sequence was over.[/SIZE]
[SIZE= 15px]While Sam Worthington’s Perseus is still a bit of a wooden hero, Liebesman addresses this issue in a couple of practical ways. Rather than attempting to draw previously unplumbed depths from the actor/character, he generates audience sympathy for him by establishing that he is a bit rusty at the heroic gig and having him constantly overmatched in each battle. Perseus receives the most relentless and painful series of beatings I have seen a character endure in a non-Mel Gibson movie. This strategy plays to Worthington’s strengths as a physical actor and prevents the film from getting bogged down with dialog-heavy drama. [/SIZE]
[SIZE= 15px]Perseus is also surrounded by a more entertaining group of secondary characters including a re-cast and re-conceived Andromeda played by Rosamund Pike. This Andromeda has no intention of being a victim chained to any rocks again. The film is not entirely successful in its attempts to generate some romantic chemistry between Perseus and Andromeda, but it does not waste too much screen time on it either. The best addition is roguish fellow demi-god Agenor who is a nice foil for Perseus and Andromeda. He injects some much needed humor that helps to keep things from getting too serious without unbalancing the movie. Liam Neeson and Ralph Fiennes seem to be having every bit as much fun as they had in the previous movie playing godly dysfunctional brothers Zeus and Hades, and are wisely given more to do in this sequel.[/SIZE]
[SIZE= 15px]Wrath of the Titans[/SIZE][SIZE= 15px] visually delivers a similar mix of digitally enhanced location photography, CG effects, practical effects, and stunt work as its predecessor. There is an inconsistency in the work of the various CG effects houses involved which will be discussed below in the video assessment. Other than that caveat, these visual elements work in concert with the film’s relentless pacing to deliver some epic eye-candy that fulfills an action-spectacle audience’s expectations without ever even trying to exceed them.[/SIZE]
[SIZE= 19px]The Video ****½[/SIZE]
[SIZE= 15px]This 1080p AVC-encoding approximates the film’s original aspect ratio by filling the entire 16:9 frame. The presentation offers tremendous clarity, arguably to a fault. The heavy reliance on CG animation and set extensions from a variety of effects houses results in different technical “looks” to various sequences that do not always blend into a seamless aesthetic whole. Many of the Harry Potter films had similar issues. I did not see the film in theaters to verify whether or not the timing of the theatrical release (or aspect of the 3D conversion process) helped to create a more harmonious cinematic look, but I found the Blu-ray presentation occasionally jarring both as it transitioned from sequence to sequence and, of greater but less frequent concern, as it transitioned from shot to shot within certain effects-heavy set-pieces. That being said, none of these issues appear to be related to the encoding on disc, which handles potentially problematic scenes with heavy detail and lots of motion with aplomb. Contrast is rendered nicely with good detail in scenes set in darkness and in sunlight. The color palette is occasionally unnaturally warm, but this appears to have been a stylistic choice by the filmmakers to emphasize arid exteriors and fiery underworld locations.[/SIZE]
[SIZE= 19px]The Audio ****½[/SIZE]
[SIZE= 15px]The film's sound mix is provided courtesy of a DTS-HD MA lossless 5.1 multi-channel encoding. The surround track is more than capable of delivering the [/SIZE][SIZE= 15px]sturm und drang[/SIZE][SIZE= 15px] of the film’s several action set-pieces. Dynamics are impressive with even the loudest sequences never sounding overloaded or too heavily compressed. The room-shaking mix will remind the viewer/listener repeatedly of the extra 10dB of headroom offered the .1 LFE channel. Surround use is aggressive when appropriate. The score did not seem to benefit as much from the lossless encoding as I have heard on the best modern mixes, but there are no obvious defects in the presentation. Alternate language Dolby Digital 5.1 tracks are available in French, Spanish, and Portuguese.[/SIZE]
[SIZE= 19px]The Extras ****[/SIZE]
[SIZE= 15px]All extras are presented in 1080p AVC-encoded video with Dolby Digital 2.0 stereo audio unless otherwise noted below.[/SIZE]
[SIZE= 15px]When the disc is first played, the viewer is greeted with the following promos presented in AVC encoded 1080p video with Dolby Digital 5.1 audio:[/SIZE]
[SIZE= 15px]Warner Blu-ray 3D Promo[/SIZE][SIZE= 15px] (1:49)[/SIZE]
[SIZE= 15px]Sherlock Holmes: A Game of Shadows [/SIZE][SIZE= 15px]Bl-ray Trailer (2:27)[/SIZE]
[SIZE= 15px]Proper on-disc extras include the following. All are presented in 1080p AVC-encoded video with Dolby Digital 2.0 stereo audio unless otherwise noted below:[/SIZE]
[SIZE= 15px]Maximum Movie Mode[/SIZE][SIZE= 15px] is a picture in picture video commentary mode that runs concurrent with the movie offering scene specific interviews, behind the scenes footage, production art, pre-visualizations, effects progressions, and material related to the film’s mythological origins. It also features a couple of levels of viewer interactivity. When initially started, the viewer is greeted with an introduction from actors Sam Worthington (“Perseus”) and Liam Neeson (“Zeus”). They offer a welcome message explaining how viewers will be asked to view the Maximum Movie Mode in either “Path of Man” mode, which focuses on details of the film’s production, or “Path of the Gods” mode, which focuses on the mythological basis for the characters, creatures, and events dramatized in the film. The viewer is then asked to choose a “path“ to begin the feature. Both “paths” offer unique content, but they also intersect at various points (30-40% by my non-scientific estimate) with identical material. A second layer of interactivity is provided at specific points throughout the film when the viewer is given the choice to choose branching featurettes on specific topics called “focus points”. These featurettes are also watchable independently of the “Maximum Movie Mode” via a “Focus Points” selection from the Special Features menu (described in detail below). [/SIZE]
[SIZE= 15px]Throughout the two modes, on-screen comments are offered up by Director Jonathan Liebeman, Sam Worthington (“Perseus”), Toby Kebbell (“Agenor”), Rosamund Pike (“Andromeda”), Edgar Ramirez (“Ares”), Liam Neeson (“Zeus”), Ralph Fiennes (“Hades”), Bill Nighy (“Hephasteus”), Danny Huston (“Poseidon”), John Bell (“Helius”), Lily James (“Korrina”), Spencer Wilding (“Minotaur”), Writer David Leslie Johnson, Writer Dan Mazeau, Producer Basil Iwanyk, Producer Polly Johnsen, Director of Photography Ben Davis, Production Designer Charles Wood, Standby Art Director Oliver Roberts, Set Decorator Lee Sandales, Drapes Master Daniel Handley, Costume Designer Jany Temime, Stunt Coordinator Paul Jennings, Assistant Stunt Coordinator Mark Mottram, Visual Effects Supervisor/Second Unit Director Nick Davis, Additional Visual Effects Supervisor Chris Shaw, Special Effects Supervisor Neil Corbould, Assistant Special Effects Supervisor David Watkins, Prop Master Jamie Wilkinson, Supervising Prop Maker Craig Narramore, Standby Propman Alan Jones, Prosthetics Designer Conor O’Sullivan, Prosthetics Sculptor Sean Hedges-Quinn, Prosthetics Make-up Second Supervisor Goran Landstrom, Location Manager Martin Joy, Canary Islands Production Manager Michael Sharp, Supervising Armourer Nick Komornicki, Senior Armoury Technician Tim Wildgoose, Assistant Costume Designer - Military Joe Hobbs, Chargehand Dresser Christian Short, MPC Animation Supervisor Greg Fisher, MPC CG Effects Supervisor Anders Langlands, MPC Visual Effects Supervisor Gary Brozenich, Framestore Visual Effects Supervisor Jonathan Fawkner, Framestore Animatics Supervisor Paul Chung, Framestore CG Supervisor Mark Wilson, Nvizible Visual Effects Supervisor Martin Chamney, CSUDH Department of History Associate Professor James Jeffers PhD., UCLA Department of Classics Professor Richard Rader, PhD., LMU Classics and Archaeology Chair Matthew Dillon, PhD., and LMU Department of Classics and Archaeology Professor Chiara Sulprizio, PhD.[/SIZE]
[SIZE= 15px]There is a wealth of information within this maximum movie mode, but having to play the entire film twice to see all of it is a bit of a chore. Your mileage may vary if you are a fan of mythology, behind the scenes aspects of modern effects-heavy productions, or the film itself and are not trying to turn a review out within a week of street date. [/SIZE]
[SIZE= 15px]Focus Points[/SIZE][SIZE= 15px] are the same featurettes that are available via interactive branching while watching the film in “Maximum Movie Mode”. They are made available independently as a separate special feature menu item for the benefit of viewers not wanting to sit through the entire branching video presentation and to make them available to viewers with Blu-ray players not capable of displaying “Bonus View” picture-in-picture content. As with the [/SIZE][SIZE= 15px]Maximum Movie Mode[/SIZE][SIZE= 15px], they are grouped together under the categories of “Path of Man” (film production information) and “Path of the Gods” (mythological background information). For each category, viewers can view the focus points either individually, or through a “Play All” menu option.[/SIZE]
[SIZE= 15px]Path of Man[/SIZE][SIZE= 15px] [/SIZE][SIZE= 15px](21:13 w/ "Play All")[/SIZE]
[SIZE= 15px]Path of Gods[/SIZE][SIZE= 15px] (12:29 w/ "Play All")[/SIZE]
[SIZE= 15px]Deleted Scenes[/SIZE][SIZE= 15px] (10:48 w/"Play All") offers up three fairly substantial scenes removed from the film. From the Special Features menu, they are viewable either individually or via a “Play All” menu option:[/SIZE]
[SIZE= 15px]SD DVD[/SIZE][SIZE= 15px] A copy of the film on SD DVD is also included in this multi-disc set. The DVD includes DD 5.1 audio tracks and subtitles in English, French, and Spanish, and reproduces the [/SIZE][SIZE= 15px]Deleted Scenes[/SIZE][SIZE= 15px] special feature from the Blu-ray. When first played, the SD DVD includes a series of promos, some of which are not present on the Blu-ray version. They are presented in 4:3 letterboxed video with Dolby Digital 2.0 stereo audio unless otherwise indicated below:[/SIZE]
[SIZE= 15px]Ultraviolet Digital Copy[/SIZE][SIZE= 15px] The disc also comes packaged with an access code for an Ultraviolet Digital Copy of the film. This allows users with a Flixster account to access a streaming version of the film on computers and certain tablets and mobile devices. It also allows viewers with Flixster Collections software to download a copy to their computer's hard drive. [/SIZE]
[SIZE= 19px]Packaging[/SIZE]
[SIZE= 15px]The Blu-ray and SD-DVD discs are enclosed in a standard-sized Blu-ray case with hubs on both inside covers to secure them in place. The only insert is a two sided sheet with information on how to redeem an Ultraviolet digital copy on one side and a promo for the Warner Insider Rewards program on the other. The hard case is enclosed in a slipcover that reproduces the same cover art with the addition of some alternate promotional text and unique graphics concerning the inclusion of the SD DVD and Ultraviolet Digital Copy. [/SIZE]
Addendum
[SIZE= 15px]Viewers interested in the 3D Blu-ray release of this title can read HTF 3D Addict Ron Epstein's review of Wrath of the Titans available at this link.[/SIZE]
[SIZE= 15px]The Greek-mythology based sequel,[/SIZE][SIZE= 15px] Wrath of the Titans[/SIZE][SIZE= 15px] aspires to be nothing more than an effects heavy monster-battle action spectacle. While it does not attempt to exceed audience expectations, it succeeds at meeting them through a more relentless pacing and an improved cast of secondary characters compared to its 2010 predecessor. It is presented on Blu-ray disc with outstanding audio and video and a comprehensive, if a bit unwieldy to navigate, set of extras focusing both on the film’s production and the story’s mythological origins.[/SIZE]
[SIZE= 24px]Wrath of the Titans[/SIZE]
[SIZE= 19px]Directed By: Jonathan Liebesman[/SIZE]
[SIZE= 19px]Starring: Sam Worthington, Rosamund Pike, Bill Nighy, Edgar Ramirez, Toby Kebbell, Danny Huston, Ralph Fiennes, Liam Neeson[/SIZE]
[SIZE= 15px]Studio: Warner Bros.[/SIZE]
[SIZE= 15px]Year: 2012[/SIZE]
[SIZE= 15px]Rated: PG-13[/SIZE]
[SIZE= 15px]Film Length: 99 Minutes[/SIZE]
[SIZE= 15px]Aspect Ratio: 16:9[/SIZE]
[SIZE= 15px]Subtitles: English SDH, French, Spanish, Portuguese[/SIZE]
[SIZE= 15px]Release Date: June 26, 2012[/SIZE]
[SIZE= 15px] [/SIZE]
[SIZE= 19px]The Film ***[/SIZE]
[SIZE= 15px]Wrath of the Titans[/SIZE][SIZE= 15px] is the sequel to the greek-mythology derived 2010 action effects extravaganza [/SIZE][SIZE= 15px]Clash of the Titans[/SIZE][SIZE= 15px] (which was in turn a remake of the 1981 film of the same name produced by stop-motion special effects wizard Ray Harryhausen). Events take place a decade or so after the events of the first film, with demi-god Perseus (Worthington), son of Zeus (Neeson), embracing his human side and living as a fisherman and widowed single father of a boy named Helius (Bell) . Hades (Fiennes) and Ares (Ramirez) conspire to imprison Zeus and the other gods in the Underworld prison of Tartarus and siphon their power to release the imprisoned Titan Cronus. These events result in various forms of havoc being unleashed on Earth. When Perseus learns that said havoc is merely prelude to an end of days scenario, he takes his armor and sword out of storage and begins a quest to travel to the Underworld and prevent it. Accompanying him on his journey are Andromeda (Pike), who has morphed from damsel in distress to warrior queen over the ensuing decade, and Agenor (Kebbell) a less naturally heroic demi-god who is the son of Poseidon (Huston).[/SIZE]
[SIZE= 15px]When [/SIZE][SIZE= 15px]I reviewed the Blu-ray release of 2010’s [/SIZE][SIZE= 15px]Clash of the Titans[/SIZE][SIZE= 15px], my general observation was that the film aspired to be nothing more than a high-tech updating of an old-fashioned monster movie. Nothing has changed in that regard with its sequel, but a few improvements have been implemented to help achieve its unambitious goals more successfully. The previous film had a drawn out first half-hour that took its time setting up a plot that was not that complicated and establishing characters that were even less complicated. In this sequel, director Jonathan Liebesman introduces special effects heavy monster mayhem within the first ten minutes and keeps it coming at a regular cadence for the remaining hour and a half. The screenplay is constructed as a “one damn thing after another” hero’s quest with each action set-piece being quickly followed by a set-up of a new objective that leads to the next set-piece. [/SIZE]
[SIZE= 15px]Individual sequences are similarly briskly paced such that the viewer has no time to reflect on the occasional lapses in logic contained within them. By way of example, in the film’s first major action set-piece, Perseus is motivated to pick up his sword for the first time when an attacking chimera threatens his son. Throughout the sequence, Perseus keeps telling his son to run away and yet everywhere Helius goes, the chimera seems to follow. There is no established reason why the chimera would be following this one kid rather than any number of other tasty looking villagers, but I never really pondered this until well after the sequence was over.[/SIZE]
[SIZE= 15px]While Sam Worthington’s Perseus is still a bit of a wooden hero, Liebesman addresses this issue in a couple of practical ways. Rather than attempting to draw previously unplumbed depths from the actor/character, he generates audience sympathy for him by establishing that he is a bit rusty at the heroic gig and having him constantly overmatched in each battle. Perseus receives the most relentless and painful series of beatings I have seen a character endure in a non-Mel Gibson movie. This strategy plays to Worthington’s strengths as a physical actor and prevents the film from getting bogged down with dialog-heavy drama. [/SIZE]
[SIZE= 15px]Perseus is also surrounded by a more entertaining group of secondary characters including a re-cast and re-conceived Andromeda played by Rosamund Pike. This Andromeda has no intention of being a victim chained to any rocks again. The film is not entirely successful in its attempts to generate some romantic chemistry between Perseus and Andromeda, but it does not waste too much screen time on it either. The best addition is roguish fellow demi-god Agenor who is a nice foil for Perseus and Andromeda. He injects some much needed humor that helps to keep things from getting too serious without unbalancing the movie. Liam Neeson and Ralph Fiennes seem to be having every bit as much fun as they had in the previous movie playing godly dysfunctional brothers Zeus and Hades, and are wisely given more to do in this sequel.[/SIZE]
[SIZE= 15px]Wrath of the Titans[/SIZE][SIZE= 15px] visually delivers a similar mix of digitally enhanced location photography, CG effects, practical effects, and stunt work as its predecessor. There is an inconsistency in the work of the various CG effects houses involved which will be discussed below in the video assessment. Other than that caveat, these visual elements work in concert with the film’s relentless pacing to deliver some epic eye-candy that fulfills an action-spectacle audience’s expectations without ever even trying to exceed them.[/SIZE]
[SIZE= 19px]The Video ****½[/SIZE]
[SIZE= 15px]This 1080p AVC-encoding approximates the film’s original aspect ratio by filling the entire 16:9 frame. The presentation offers tremendous clarity, arguably to a fault. The heavy reliance on CG animation and set extensions from a variety of effects houses results in different technical “looks” to various sequences that do not always blend into a seamless aesthetic whole. Many of the Harry Potter films had similar issues. I did not see the film in theaters to verify whether or not the timing of the theatrical release (or aspect of the 3D conversion process) helped to create a more harmonious cinematic look, but I found the Blu-ray presentation occasionally jarring both as it transitioned from sequence to sequence and, of greater but less frequent concern, as it transitioned from shot to shot within certain effects-heavy set-pieces. That being said, none of these issues appear to be related to the encoding on disc, which handles potentially problematic scenes with heavy detail and lots of motion with aplomb. Contrast is rendered nicely with good detail in scenes set in darkness and in sunlight. The color palette is occasionally unnaturally warm, but this appears to have been a stylistic choice by the filmmakers to emphasize arid exteriors and fiery underworld locations.[/SIZE]
[SIZE= 19px]The Audio ****½[/SIZE]
[SIZE= 15px]The film's sound mix is provided courtesy of a DTS-HD MA lossless 5.1 multi-channel encoding. The surround track is more than capable of delivering the [/SIZE][SIZE= 15px]sturm und drang[/SIZE][SIZE= 15px] of the film’s several action set-pieces. Dynamics are impressive with even the loudest sequences never sounding overloaded or too heavily compressed. The room-shaking mix will remind the viewer/listener repeatedly of the extra 10dB of headroom offered the .1 LFE channel. Surround use is aggressive when appropriate. The score did not seem to benefit as much from the lossless encoding as I have heard on the best modern mixes, but there are no obvious defects in the presentation. Alternate language Dolby Digital 5.1 tracks are available in French, Spanish, and Portuguese.[/SIZE]
[SIZE= 19px]The Extras ****[/SIZE]
[SIZE= 15px]All extras are presented in 1080p AVC-encoded video with Dolby Digital 2.0 stereo audio unless otherwise noted below.[/SIZE]
[SIZE= 15px]When the disc is first played, the viewer is greeted with the following promos presented in AVC encoded 1080p video with Dolby Digital 5.1 audio:[/SIZE]
[SIZE= 15px]Warner Blu-ray 3D Promo[/SIZE][SIZE= 15px] (1:49)[/SIZE]
[SIZE= 15px]Sherlock Holmes: A Game of Shadows [/SIZE][SIZE= 15px]Bl-ray Trailer (2:27)[/SIZE]
[SIZE= 15px]Proper on-disc extras include the following. All are presented in 1080p AVC-encoded video with Dolby Digital 2.0 stereo audio unless otherwise noted below:[/SIZE]
[SIZE= 15px]Maximum Movie Mode[/SIZE][SIZE= 15px] is a picture in picture video commentary mode that runs concurrent with the movie offering scene specific interviews, behind the scenes footage, production art, pre-visualizations, effects progressions, and material related to the film’s mythological origins. It also features a couple of levels of viewer interactivity. When initially started, the viewer is greeted with an introduction from actors Sam Worthington (“Perseus”) and Liam Neeson (“Zeus”). They offer a welcome message explaining how viewers will be asked to view the Maximum Movie Mode in either “Path of Man” mode, which focuses on details of the film’s production, or “Path of the Gods” mode, which focuses on the mythological basis for the characters, creatures, and events dramatized in the film. The viewer is then asked to choose a “path“ to begin the feature. Both “paths” offer unique content, but they also intersect at various points (30-40% by my non-scientific estimate) with identical material. A second layer of interactivity is provided at specific points throughout the film when the viewer is given the choice to choose branching featurettes on specific topics called “focus points”. These featurettes are also watchable independently of the “Maximum Movie Mode” via a “Focus Points” selection from the Special Features menu (described in detail below). [/SIZE]
[SIZE= 15px]Throughout the two modes, on-screen comments are offered up by Director Jonathan Liebeman, Sam Worthington (“Perseus”), Toby Kebbell (“Agenor”), Rosamund Pike (“Andromeda”), Edgar Ramirez (“Ares”), Liam Neeson (“Zeus”), Ralph Fiennes (“Hades”), Bill Nighy (“Hephasteus”), Danny Huston (“Poseidon”), John Bell (“Helius”), Lily James (“Korrina”), Spencer Wilding (“Minotaur”), Writer David Leslie Johnson, Writer Dan Mazeau, Producer Basil Iwanyk, Producer Polly Johnsen, Director of Photography Ben Davis, Production Designer Charles Wood, Standby Art Director Oliver Roberts, Set Decorator Lee Sandales, Drapes Master Daniel Handley, Costume Designer Jany Temime, Stunt Coordinator Paul Jennings, Assistant Stunt Coordinator Mark Mottram, Visual Effects Supervisor/Second Unit Director Nick Davis, Additional Visual Effects Supervisor Chris Shaw, Special Effects Supervisor Neil Corbould, Assistant Special Effects Supervisor David Watkins, Prop Master Jamie Wilkinson, Supervising Prop Maker Craig Narramore, Standby Propman Alan Jones, Prosthetics Designer Conor O’Sullivan, Prosthetics Sculptor Sean Hedges-Quinn, Prosthetics Make-up Second Supervisor Goran Landstrom, Location Manager Martin Joy, Canary Islands Production Manager Michael Sharp, Supervising Armourer Nick Komornicki, Senior Armoury Technician Tim Wildgoose, Assistant Costume Designer - Military Joe Hobbs, Chargehand Dresser Christian Short, MPC Animation Supervisor Greg Fisher, MPC CG Effects Supervisor Anders Langlands, MPC Visual Effects Supervisor Gary Brozenich, Framestore Visual Effects Supervisor Jonathan Fawkner, Framestore Animatics Supervisor Paul Chung, Framestore CG Supervisor Mark Wilson, Nvizible Visual Effects Supervisor Martin Chamney, CSUDH Department of History Associate Professor James Jeffers PhD., UCLA Department of Classics Professor Richard Rader, PhD., LMU Classics and Archaeology Chair Matthew Dillon, PhD., and LMU Department of Classics and Archaeology Professor Chiara Sulprizio, PhD.[/SIZE]
[SIZE= 15px]There is a wealth of information within this maximum movie mode, but having to play the entire film twice to see all of it is a bit of a chore. Your mileage may vary if you are a fan of mythology, behind the scenes aspects of modern effects-heavy productions, or the film itself and are not trying to turn a review out within a week of street date. [/SIZE]
[SIZE= 15px]Focus Points[/SIZE][SIZE= 15px] are the same featurettes that are available via interactive branching while watching the film in “Maximum Movie Mode”. They are made available independently as a separate special feature menu item for the benefit of viewers not wanting to sit through the entire branching video presentation and to make them available to viewers with Blu-ray players not capable of displaying “Bonus View” picture-in-picture content. As with the [/SIZE][SIZE= 15px]Maximum Movie Mode[/SIZE][SIZE= 15px], they are grouped together under the categories of “Path of Man” (film production information) and “Path of the Gods” (mythological background information). For each category, viewers can view the focus points either individually, or through a “Play All” menu option.[/SIZE]
[SIZE= 15px]Path of Man[/SIZE][SIZE= 15px] [/SIZE][SIZE= 15px](21:13 w/ "Play All")[/SIZE]
Battling the Chimera (3:54) focuses primarily on the design an effects work that went into creating the Chimaera battle sequence early in the film. On-screen comments are provided by Liebesman, Fisher, Langlands, Davis, and Corbould
Agenor: The Other Demigod (3:00) looks at the character of Agenor, son of Poseidon as played in the film by Toby Kebbell. On screen comments are provided by Iwanyk, Worthington, Kebbell, Liebesman, Pike, and Corbould
The Cyclops Fight (3:34) focuses on another effects heavy battle sequence. On-screen comments are provided by Pike, Worthington, Fawkner, Chung, and Liebesman
Prison of the Titans (3:46) looks at the design and cinematic realization of Tartarus, the Underworld prison that figures significantly in the film’s plot. Comments are provided by Liebesman, Ramirez, Fiennes, Davis, Jennings, Neeson, O’Sullivan, Hhedges-Quinn, and Pike
Minotaur: The Human Nightmare (3:02) covers the largely practical visual and make-up effects that went into creating the Minotaur. Comments are provided by Iwanyk, O’Sullivan, Liebesman, Landstrom, and Wilding
The Heavens Raise Hell on Earth (4:26) covers the film’s elaborate final battle sequence which featured hundreds of extras and as many as 50 stunt performers. On screen discussion comes courtesy of Liebesman, Joy, Fiennes, Wildgoose, Hobbs, Jennings, Davis, and Corbould.
[SIZE= 15px]Path of Gods[/SIZE][SIZE= 15px] (12:29 w/ "Play All")[/SIZE]
Who Are the Titans? (3:20) Covers the mythological origins of the Titans and tehir relationship to the gods. Comments are provided by Liebesman, Neeson, Jeffers, Rader, Fiennes, and Johnsen.
Hephaestus: God of Fire (2:34) Looks at the mythological origins of the hard-luck “armorer of the gods” played in the film by Bill Nighy. Comments are provided by Nighy, Rader, Iwanyk, Sulprizio, and Johnsen
Lost in Tartarus' Labyrinth (2:51) Covers both the mythological origins and the cinematic design of the labyrinth/minotaur sequence. Comments are provided by Liebeman, Sulprizio, Rader, and Jeffers
Creatures of the Titans (4:02) Discusses the mythological origins of numerous beasties including the chimera, the Makhai, and the cyclops. Comments are provided on camera by Rader, Mazeau, Liebesman, Jeffers, Iwanyk, Johnsen, and Dillon.
[SIZE= 15px]Deleted Scenes[/SIZE][SIZE= 15px] (10:48 w/"Play All") offers up three fairly substantial scenes removed from the film. From the Special Features menu, they are viewable either individually or via a “Play All” menu option:[/SIZE]
Perseus Owes Helius an Explanation (4:26) - After his battle with the Chimera, Perseus must explain his relationship to the gods to his son. The scene is four and a half minutes consisting almost entirely of exposition that leads into the scene where Perseus receives additional exposition from Poseidon. It was a good cut.
Perseus Addresses the Troops (4:50) - Perseus, with some help from Andromeda, gives a rousing speech to Andromeda’s troops including even more exposition of things the audience could easily figure out for themselves. This scene would have immediately preceded the introduction of Agenor. Another good cut.
Zeus is Led Past Missing Olympians (1:32) In this scene set in Tartarus, an imprisoned Zeus learns about the fates of many of the other gods from Ares and Hades. It fills a minor plot hole and is visually interesting, making it the best of the three cut scenes.
[SIZE= 15px]SD DVD[/SIZE][SIZE= 15px] A copy of the film on SD DVD is also included in this multi-disc set. The DVD includes DD 5.1 audio tracks and subtitles in English, French, and Spanish, and reproduces the [/SIZE][SIZE= 15px]Deleted Scenes[/SIZE][SIZE= 15px] special feature from the Blu-ray. When first played, the SD DVD includes a series of promos, some of which are not present on the Blu-ray version. They are presented in 4:3 letterboxed video with Dolby Digital 2.0 stereo audio unless otherwise indicated below:[/SIZE]
Warner Blu-ray promo (1:52)
The Dark Knight Rises Theatrical Trailer (1:36)
Dark Shadows Blu-ray Trailer (2:29)
Sherlock Holmes: A Game of Shadows Blu-ray/DVD Trailer (2:27)
The Dark Knight Returns Part One DTV Trailer (1:34)
WB Insider Rewards Promo (1:16)
[SIZE= 15px]Ultraviolet Digital Copy[/SIZE][SIZE= 15px] The disc also comes packaged with an access code for an Ultraviolet Digital Copy of the film. This allows users with a Flixster account to access a streaming version of the film on computers and certain tablets and mobile devices. It also allows viewers with Flixster Collections software to download a copy to their computer's hard drive. [/SIZE]
[SIZE= 19px]Packaging[/SIZE]
[SIZE= 15px]The Blu-ray and SD-DVD discs are enclosed in a standard-sized Blu-ray case with hubs on both inside covers to secure them in place. The only insert is a two sided sheet with information on how to redeem an Ultraviolet digital copy on one side and a promo for the Warner Insider Rewards program on the other. The hard case is enclosed in a slipcover that reproduces the same cover art with the addition of some alternate promotional text and unique graphics concerning the inclusion of the SD DVD and Ultraviolet Digital Copy. [/SIZE]
Addendum
[SIZE= 15px]Viewers interested in the 3D Blu-ray release of this title can read HTF 3D Addict Ron Epstein's review of Wrath of the Titans available at this link.[/SIZE]
