Reviewed by Darren Bevan

WHEREAS Sin City posed a fresh visual assault, 300 feels forced, shallow and vacant by comparison. Drawing from the original source material of the historically inspired comic book written by Frank Miller, it’s a retelling of the Battle of Thermopylae in 480BC. Faced by a marauding takeover by the Greeks and their leader Xerxes, Sparta found itself on the brink of disaster. But given the chance to surrender and submit to the rule of the invading forces, King Leonidas (Gerard Butler) decides to take on the 200,000 forces with 300 of the best handpicked men.


It’s here the film chooses to amp up the testosterone, as its muscular warriors bid farewell and set off to defend their land in what can only be described as overwhelming odds. Once Leonidas and his men make it to a narrow pass, they decide here will be their stand against the invaders. But Spartan lore’s insistence on only using the best warriors trained from birth helps bring about the undoing of the 300 as Leonidas refuses the help of a certain outcast Spartan because he doesn’t match up to warring expectations. That decision sends the hunchbacked creature into the arms and temptations of Xerxes and he betrays his fellow countrymen.

At this point, the comic book mentality really kicks in, having already teased us with pertly breasted women aroused by the sight of men commencing in fight scene, upon fight scene, upon fight scene. Each battle resembles an outtake from Troy, as Snyder slows the action down so we see the blood spatter and spray from each of the Spartans’ sword strokes. It’s also here that the film starts to feel tired, if pointless, as one realises there’s nothing more for it to offer than endless bludgeoning. After the first wave is defeated, the Spartans’ celebrations are humbled by another wave of attacks. But against all odds, they survive again, only to face more fighting. With nothing else for them to do but fight, the characters are simply unable to develop.

Back in Sparta, Leonidas’ queen (Lena Headey) tries to defend the men by arguing with the Council for more troops to be sent – only to also find herself betrayed. Miller’s original books didn’t pitch much of a role for the Queen, and granted, Snyder’s decision to expand the part elevates her as the only character of any substance, fleshed out from her initial guise as a sex object for Leonidas’ departure.

300’s final scenes again offer nothing new, evoking Helm’s Deep from the Lord of the Rings – another pillaged outtake for the taking. Like Leonidas’ quest to save his homeland, Snyder’s bastardisation is truly tragic; his film’s only currency as a motivational showreel to psych armies ahead of battle, and as propaganda piece for mindless war and sacrifice.