Halhatatlanok

A Halhatatlanok filmnek nincs története, ami bárhová is elmozdítaná, sem karakterei, amelyek életet adnának bele. És minden egyes beburkolózott női testre harminc félmeztelen férfi test jut. De a film kielégítően véres, az istenek és a felhők feletti lakhelyük elképzelése nem úgy néz ki, mint egy giccses pornófilmben (lásd az új A titánok harca filmet), a pazar díszlet pedig a zseniális dizájnnal határos. Nem unatkoztam, nem voltam elragadtatva, nem sajnáltam senkit és nem szorítottam senkinek, de mégis élvezettel néztem a végéig. Látványos pózolós üresség. (2011.11.14)

That was yummy! A film doomed to the most mixed reviews. For some it will be an insufficiently stylized and insufficiently action-packed copy 300, for others, a way too stylised and an unfaithful take on ancient mythology, and yet for others, a screenwriting mess without any clear motifs and relationships… or, it’s really easy to criticise Immortals. But if I had to criticise one thing, it would be that, compared to his previous film, Tarsem Singh has taken a bit too big a step towards the average audience. But despite that, he’s made a very original and stylised film that I refuse to call average, even if I was forced to. Visually, it’s one of the most intoxicating films from last year and I’m sorry to have missed it in the cinema. (2012.01.15)

Fortunately, it is different than 300, and much more mature and refined in terms of mythological storytelling. What's bad about it are the exact moments when it leaves Tarsem Singh's quirky theatricality and tries to sell it as a simple mainstream product for fans of Snyder's bicep circus. In any case, this amphitheater (what some refer to as poorness and lack of epicity, I refer to as grip and intentional "scenicity") provides a fairly solid portion of aesthetic pleasure from a unique view of ancient mythology (although it uses it as a purposeful texture, it is able, unlike most similar films, to create the appearance of a coherent universality - paradoxically, if you take 300, Clash of the Titans and Troy, Immortals corresponds to the ancient prefiguration least). I enjoyed it, sometimes very much. (2011.11.24)

Please, no more battles between reality and dream. Tarsem Singh finally found a substance in which his unmistakable visuals do not become empty mannerisms, but instead perfectly serve an interesting (albeit simple) story in the theatrical vein of the big studio "sandal films" of the 1960s Hollywood big screen era. Paradoxically, the epic is conveyed through non-action acts, which allows the excellent actors to shine. Rourke’s villain is rightly being elevated to Olympus by everyone, whilst Cavill's charismatic bastard holds great promise not only for the new Superman but for similar types of roles in general. Beyond that, Freida Pinto's ass is just for show. This is another one of those occasional film pieces where I was put off going to the movie theater by lukewarm reviews and, despite the HD screening, I will regret it for a long time to come. 4 ½. (2012.01.25)

A supremely aesthetic affair in which Tarsem Singh has imprinted his unmistakable, bizarre visual sensibility. The theatrical stylisation, the lack of epicness and the sparseness of the film's sets (while at the same time visually intoxicating) are the author's intention, not due to the producers' boredom and a hole in their wallets. I want to have this in Blu-ray. (2011.11.29)