As I write, “It would be a mistake to dismiss director Noam Murro’s sword and sandal “historical” pageant 300: Rise of an Empire (2014) entirely, if only because mainstream pop culture films can often tell us more about the times we live in than so-called ‘quality’ films, since they pander so shamelessly to their audiences. So it is with 300: ROAE, but let me hasten to add that most of what it has to tell us is unintentional freight. The makers of this film – the producers, screenwriters and the director – wanted a serviceable follow-up to Zack Snyder’s 2007 original, to create what could be a profitable franchise, if properly handled – and Murro delivered it. It’s a maelstrom of unending cruelty, barbarism, and conflict.
You want endless, mindless, slow motion violence, delivered with a minimum of dialogue or motivation (other than the standard ‘I want revenge’ card)? You got it. Battlefields littered with corpses? Check. Huge, panoramic vistas that trail off into infinity, as the protagonists strike heroic poses in the twilight? Coming up! Spectacular battles on sea and land? Gotcha! Sex scenes with a dollop of violence? Of course! It’s all here, trotted out to meet audience demand, something Murro is no stranger to. Murro has directed numerous high-end commercials and videos, and one feature, Smart People (2008), starring Dennis Quaid and Sarah Jessica Parker. He’s even worked with The Muppets! Now, if only he could learn to direct people.
That’s probably good training for this film, because most of the cast walks through their paces like so many automatons; what really saves the film as a visual construct is Murro’s sense of non-stop kineticism, which is easily the equal of some of the best action directors in motion picture history. Mind you, I’m talking sheer technique here, not resonance; the film is as empty as it is dazzling, but nevertheless, some main points come to mind. Watching the film, I kept thinking of what a first rate talent like Sam Peckinpah might have done with similar material in his prime; ‘Bloody Sam’ would have been right at home here, provided he was willing to bring the film in on time and under budget.”