It may know exactly what it is, but it never tries to move one inch beyond the expected.ģ00: RoaE takes place before, around, and after the events of 300, which is recapped in brief as a piece that, while necessary to the final action, does not require too much detail. Yet for all its bombast and innovative gore, 300:RoaE is a picture that has no problem excluding part of its potential viewership. (Still not as good as the Samurai Jack episode featuring the Spartan 300, the bar by which all representations of the Battle of Thermopylae should be judged, robot minotaurs and all.) More of a straightforward war story, 300:RoaE lacks the degree of self-importance its predecessor had. A sea of machismo and crimson gushing, 300:Rise of an Empire is a high-camp successor to the much lauded 300, the highly fictionalized tale of the three hundred Spartan warriors who stood their ground against an insurmountable force at the Hot Gates. Do we make movies a certain way because we think it’s what an audience wants to see? Is it right to choose your audience before your film is released, and damn whoever else dares to watch it? These questions were the ones causing the headache that followed my viewing of 300: Rise of an Empire.
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