| Warner Bros. Pictures | Release Date: March 9, 2007 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
19
Mixed:
16
Negative:
7
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Critic Reviews
A newfangled old-fashioned movie about glory, honor, sacrifice and a martial code that crosses into fascism, homoerotism and homophobia at the same time -- there are plenty of turn-off buttons in this one. But by Zeus, this is a ripping yarn, told with limb-rending gusto, an iconic ancient battle as seen by an iconic comic-book creator, Frank Miller.
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In creating the ultimate movie for sword-and-sandal blood-spatter fetishists, director Zack Snyder scores on the spectacle side—300 looks amazing—but his mechanical story line and over-the-top melodramatics don't support the action. [9 March 2007, p.1]
There's no denying that 300 has its viscerally charged moments, but it would be a lot more fun if it didn't take itself quite so seriously. You don't get to be pretentious when you've populated your film with androgynous kings, lesbian concubines and giant elephants. [9 March 2007, p.4]
Snyder attaches no larger significance to his arresting visuals. He’s only intent on eliciting “Whoa, dude!” reactions, of which there are fewer and fewer once it becomes clear that there’s nothing sustaining the centerpiece razzle-dazzle sequences except awful dialogue and no-dimensional characters.
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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 [of freedom] 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.
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300 presents a dual clash of civilizations. An action adventure that pits thousands of Persians against 300 brave Spartans at the Battle of Thermopylae, it also pits millions of fans of brainless violence against a gallant band, or so I choose to think of us, who still expect movies to contain detectable traces of humanity.
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It's a ponderous, plodding, visually dull picture, but the blame shouldn't be put on Snyder's skills per se, and has nothing to do with his ambition to blur the distinction between CGI and photography. Frankly, it's the slavish, frame-by-frame devotion to Miller's source material that's the problem.
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