movie review for the 300

Spartan Special at CGI Friday's

Vincent Regan, left,and Gerard Butler star in "300."

I gave a four-star rating to " Sin City ," the 2005 film based on a graphic novel by Frank Miller . Now, as I deserve, I get "300," based on another work by Miller. Of the earlier film, I wrote prophetically: "This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids." They must have been buying steroids wholesale for "300." Every single male character, including the hunchback, has the muscles of a finalist for Mr. Universe.

Both films are faithful to Miller's plots and drawings. "300," I learn, reflects the book almost panel-by-panel. They lean so heavily on CGI that many shots are entirely computer-created. Why did I like the first, and dislike the second? Perhaps because of the subject matter, always a good place to start. "Sin City," directed by Robert Rodriguez and Miller, is film noir, my favorite genre, taken to the extreme. "300," directed by Zack Snyder , is ancient carnage, my least favorite genre, taken beyond the extreme. "Sin City" has vividly- conceived characters and stylized dialogue. "300" has one-dimensional caricatures who talk like professional wrestlers plugging their next feud.

The movie involves a legendary last stand by 300 death-obsessed Spartans against a teeming horde of Persians. So brave and strong are the Spartans that they skewer, eviscerate, behead and otherwise inconvenience tens of thousands of Persians before finally falling to the weight of overwhelming numbers. The lesson is that the Spartans are free, and the Persians are slaves, although the Spartan idea of freedom is not appetizing (children are beaten to toughen them).

But to return to those muscles. Although real actors play the characters and their faces are convincing, I believe their bodies are almost entirely digital creations. They have Schwarzeneggerian biceps, and every last one of them, even the greybeards, wear well-defined six- packs on their abs. I can almost believe the star, Gerard Butler , may have been working out at Gold's Gym ever since he starred as the undernourished Phantom of the Opera, but not 300, 200 or even 100 extras. As a result, every single time I regarded the Spartans in a group, I realized I was seeing artistic renderings, not human beings.

Well, maybe that was the idea.

The movie presents other scenes of impossibility. Look at the long- shots of the massed Persians. There are so many they would have presented a logistical nightmare: How to feed and water them? Consider the slave-borne chariot that Xerxes pulls up in. It is larger that the imperial throne in the Forbidden City, with a wide staircase leading up to Xerxes. Impressive, but how could such a monstrosity be lugged all the way from Persia to Greece? I am not expected to apply such logic, I know, but the movie flaunts its preposterous effects.

And what about Xerxes ( Rodrigo Santoro ) himself? He stands around eight feet tall, I guess, which is good for 500 B.C. (Santoro's height in life: 6 feet, 2.75 inches). He towers over Leonidas (Butler), so we know his body isn't really there. But what of his face? I am just about prepared to believe that the ancient Persians went in for the piercing of ears, cheeks, eyebrows, noses, lips and chins. But his eyebrow have been plucked and re-drawn into black arches that would make Joan Crawford envious. And what about the mascara and the cute little white lines on the eyelids? When the Spartans describe the Athenians as "philosophers and boy-lovers," I wish they had gone right ahead to discuss the Persians.

The Spartans travel light. They come bare-chested, dressed in sandals, bikini briefs and capes. They carry swords and shields. At the right time, they produce helmets which must have been concealed in their loincloths. Also apples. And from the looks of them, protein shakes. They are very athletic, able to construct a towering wall of thousands of dead Persians in hours, even after going to all the trouble of butchering them. When they go into battle, their pep talks sound like the screams of drunken sports fans swarming onto the field.

They talk, as I suggested, like pro wrestlers, touting the big showdown between Edge and The Undertaker. "Be afraid!" they rumble, stopping just short of adding, "Be very afraid." They talk about going on the "warpath," unaware that the phrase had not yet been coined by American Indians. Their women, like Gorgo ( Lena Headey ), queen of Leonidas, are as bloodthirsty as their men, just like wrestler's wives.

All true enough. But my deepest objection to the movie is that it is so blood-soaked. When dialogue arrives to interrupt the carnage, it's like the seventh-inning stretch. In slow motion, blood and body parts spraying through the air, the movie shows dozens, hundreds, maybe thousands, of horrible deaths. This can get depressing.

In old movies, ancient Greeks were usually sort of noble. Now they have become lager louts. They celebrate a fascist ideal. They assume a bloodthirsty audience, or one suffering from attention deficit (how many disembowelings do you have to see to get the idea?). They have no grace and wisdom in their speech. Nor dignity in their bearing: They strut with arrogant pride. They are a nasty bunch. As Joe Mantegna says in " House of Games ," "You're a bad pony, and I'm not gonna bet on you." That's right before he dies, of course.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Lena Headey as Gorgo
Andrew Tiernan as Ephialtes
Vincent Regan as Captain
Gerard Butler as Leonidas
Peter Mensah as Messenger
Michael Fassbender as Stelios
Andrew Pleavin as Daxos
Dominic West as Theron
David Wenham as Dilios
Tom Wisdom as Astinos
Rodrigo Santoro as Xerxes
Stephen McHattie as Loyalist

Screenplay by

Kurt Johnstad
Michael B. Gordon

Directed by

Zack Snyder

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300 Reviews

Zack Snyder’s incredibly stylized telling of the Battle of Thermopylae gives nearly any other film on this side of the century marker an insurmountable standard to claim the title as the most mythological storytelling display in 21st-century cinema.

Full Review | Jul 3, 2024

300 claims some impressive visuals, but the narrow-mindedness of the plot and the childishness of the writing made this film hugely disappointing.

Full Review | Original Score: 1.5/5 | Mar 8, 2024

Forget realism, this is Greek history as a macho fantasy that privileges brute force over intellect and turns war in an epic gladiator battle.

Full Review | Aug 19, 2023

Stylized violence at its finest.

Full Review | Original Score: 8/10 | Nov 24, 2020

If you're looking to see the rich, deep imagery of 300 play out in the most beautiful, bone-crunching way possible, this 4K offering is absolutely a must-have.

Full Review | Original Score: 4/5 | Oct 19, 2020

Butler encompasses the demeanor of a mighty and powerful king/warrior whom men would follow into battle.

Full Review | Original Score: 4.5/5 | Oct 8, 2020

Very violent, but rich in atmosphere and amazing visuals.

Full Review | Original Score: 3/5 | Aug 4, 2020

300 isn't up to the same level as Sin City, but it is still quite entertaining. Fans of blood, gore, and comic book violence won't be disappointed.

Full Review | Original Score: B | Nov 21, 2019

By no means great art, but it most certainly is fantastic trash.

Full Review | Original Score: 3/4 | Jun 6, 2019

A highly stylised fantasy, its colour palette both lush and gloomy. Leonidas is inspiring and practical and as usual when Butler's playing someone who isn't from Scotland, 50% Scottish. Headey is terrific, put her in charge of the Ancient World right now.

Full Review | Original Score: 4/5 | Nov 19, 2018

What's really striking about the film is that it doesn't even have the aesthetics of a comic book, to say nothing of a graphic novel-the best examples of which, at least, show considerable concern for subtle narrative rhythms.

Full Review | Aug 23, 2018

If you're in the mood for dumb, rousing, visceral excitement, you're not going to find anything on the big screen right now to rival it.

Full Review | Original Score: 2.5/4 | Feb 6, 2018

There is an intelligent movie to be made about Spartan warrior culture, but 300 is not it. It is a fun ride, though, as long as you don't see it on a full stomach.

Full Review | Original Score: 3/4 | Mar 22, 2016

Our instinctual desire to sneer at the implausibility of the story is stalled by a sense of ambition that seems unmatched even by the standards of the Hollywood assembly line.

Full Review | Original Score: 3/4 | Sep 13, 2013

So manly it makes Troy look like a Mary-Kate and Ashley adventure.

Full Review | Original Score: 4/5 | Nov 3, 2012

Wallowing in the same adolescent nihilism as his Sin City, this adaptation of Frank Miller's graphic novel suffers from a similar lack of momentum.

Full Review | Original Score: 2/5 | Jul 9, 2012

Despite a cracking central premise and outstanding visuals, 300 ultimately leaves you feeling more gutted than some of the disemboweled soldiers on display throughout the movie.

Full Review | Jul 6, 2010

As the first blockbuster of the year, 300 sets the bar high enough, and is enjoyably silly.

Full Review | Original Score: 7/10 | Jul 6, 2010

If 300 represents an evolution in 'virtual' cinema, then at the same time it tells a story that transports us back to the violent roots of western civilisation.

Full Review | Original Score: A+ | Jul 6, 2010

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Review: The '300': Ah, the fine-looking fighters of freedom-loving Sparta

By A.O. Scott

March 8, 2007

300 Directed by Zack Snyder

The film "300" is about as violent as "Apocalypto" and twice as stupid. Adapted from a graphic novel by Frank Miller and Lynn Varley, it offers up a bombastic spectacle of honor and betrayal, rendered in images that might have been airbrushed onto a customized van sometime in the late 1970s. The basic story is a good deal older. It's all about the ancient Battle of Thermopylae, which unfolded at a narrow pass on the coast of Greece whose name translates as Hot Gates.

Hot Gates, indeed! Devotees of the pectoral, deltoid and other fine muscle groups will find much to savor as King Leonidas (Gerard Butler) leads 300 prime Spartan porterhouses into battle against Persian forces commanded by Xerxes (Rodrigo Santoro), a decadent self-proclaimed deity who wants, as all good movie villains do, to rule the world.

The Persians, pioneers in the art of facial piercing, have vastly greater numbers — including ninjas, dervishes, elephants, a charging rhino and an angry bald giant — but the Spartans clearly have superior health clubs and electrolysis facilities. They also hew to a warrior ethic of valor and freedom that makes them, despite their gleeful appetite for killing, the good guys in this tale. (It may be worth pointing out that unlike their mostly black and brown foes, the Spartans and their fellow Greeks are white.)

But not all the Spartans back in Sparta support their king on his mission. A gaggle of sickly, corrupt priests, bought off by the Persians, consult an oracular exotic dancer whose topless gyrations lead to a warning against going to war. And the local council is full of appeasers and traitors, chief among them a sardonic, shifty-eyed smoothy named Theron (Dominic West).

Too cowardly to challenge Leonidas man to man, he fixes his attention on Queen Gorgo (Lena Headey), a loyal wife and Spartan patriot who fights the good fight on the home front. Gorgo understands her husband's noble purpose. "Come home with your shield or on it," she tells him as he heads off into battle after a night of somber marital whoopee. Later she observes that "freedom is not free."

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 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. Its digitally tricked-up color scheme, while impressive at times, is hard to tolerate for nearly two hours, and the hectic battle scenes would be much more exciting in the first person. I want to chop up some Persians too!

There are a few combat sequences that achieve a grim, brutal grandeur, notably an early engagement in which the Spartans, hunkered behind their shields, push back against a Persian line, forcing enemy soldiers off a cliff into the water. The big idea, spelled out over and over in voice-over and dialogue in case the action is too subtle, is that the free, manly men of Sparta fight harder and more valiantly than the enslaved masses under Xerxes' command. Allegory hunters will find some gristly morsels of topicality, but you can find many of the same themes, conveyed with more nuance and irony, in a Pokémon cartoon.

Zack Snyder's first film, a remake of George Romero's "Dawn of the Dead," showed wit as well as technical dexterity. While some of that filmmaking acumen is evident here, the script for "300," which he wrote with Kurt Johnstad and Michael Gordon, is weighed down by the lumbering portentousness of the original book.

In time, "300" may find its cultural niche as an object of camp derision, like the sword-and-sandals epics of an earlier, pre-computer-generated-imagery age. At present, though, its muscle-bound, grunting self-seriousness is more tiresome than entertaining. Go tell the Spartans, whoever they are, to stay home and watch wrestling.

23 Mar 2007

NaN minutes

The word ‘Spartan’ nestles in the English lexicon as a synonym for words like ‘austere’ and ‘disciplined’. But while the Spartans of ancient Greece were all those things and more, none of these locutions captures the essence of this unique people. A better modern-day equivalent to ‘Spartan’ might be ‘belligerent nutcase’, and anyone in doubt need look no further than 300, which stands as an opulent, brutal and bloody declaration of that fact. An adaptation of Sin City creator Frank Miller’s graphic novel, 300 recounts the country’s finest hour: Sparta kicked plenty of ass over the ages, but it was at Thermopylae, in 480 BC, that she earned eternal renown. What those warriors achieved in life (and lots of death) still echoes through eternity.

Trumpeted by its makers as “Gladiator meets Sin City”, the cinematic rendition of 300 is fiercely loyal to its bronze-and-crimson-coloured graphic progenitor and, as such, is as far removed from reality as the last batch of Celebrity Big Brother housemates. Thermopylae was a real battle, the opening salvo of the Second Persian War no less. The Spartan king Leonidas, played here by Gerard Butler, did defend the ‘Hot Gates’ in Northern Greece with 300 hoplites, against an invading Persian army that Herodotus, the ‘father of history’, numbered at one million strong. While modern scholars insist that the Persian horde, vast as it was, totalled no more than 200,000 men, Miller and Snyder prefer Herodotus’ estimate. They also lift from his dialogue (“Then we’ll fight in the shade” is a line from the great historian, for example), although both happily depart from his source material when counting colossal elephants among the Persian forces.

Still, much like a football match between England and Brazil, 300 vs. 200,000 is hardly a fair contest, Leonidas and co. facing laughably overwhelming odds. Unlike the English football team, however, they offered a remarkable display of mettle — and indeed metal — against an army hundreds of times their size. Their story is the stuff of legend, and that thought was paramount in Miller’s mind when consigning his vision to the page. For Miller’s intention was that 300 should be historically _in_accurate — this was his bid to mythologize an actual event, lending to it the power and grace (and a healthy amount of exaggeration) normally associated with classical epic. If the battle at Thermopylae had occurred a millennium earlier, it would no doubt have formed the basis of a legend every bit as fantastic and entertaining as the works of Homer (much more lively than the pallid cinematic offering that was Troy, based on Homer’s The Iliad).

It’s somewhat ironic that whereas Troy, retelling a story rooted in myth, sought to present a world devoid of the unusual, 300, while recounting a story drawn from fact, is as fanciful as any Homeric yarn (cue fat freak with sharpened tusks for arms and a bard with a goat’s head). Snyder is entirely faithful to Miller’s intent, however, and he has cooked up an astonishing visual feast, spinning a tale that at times mimics the graphic novel frame-by-frame, the raucous content just what you’d expect to hear from some ancient, toothless sage telling hero tales around a campfire. In fact, the film is framed as a saga related by the storyteller Dilios (David Wenham, neither ancient nor toothless). It is this mythic conviction that underpins the film’s failings and informs its successes.

Chief among the latter stand the Spartans themselves, Butler and co. sporting as much muscle as a bouncers’ convention and offering a convincing portrayal of a Spartan crack troop. Fighting in nothing more than big pants, helmet and shield, there are more six-packs on show than at an Aussie off-licence, but they largely manage to convey hard-assedness rather than homoeroticism. The Spartan battle formations and fighting styles are entirely accurate, and some of the battle choreography ranks among the finest committed to film. Snyder makes us believe that these Spartans really could dispatch 100 inferior men apiece, and still have the energy to run a marathon afterwards. Crucially, Butler convinces as a leader of men, bellowing orders, wisecracking or bolstering confidence as the occasion demands, leading from the front and laying out several battalions’ worth of the enemy. Leonidas — noble, stubborn and deadly when roused — may be not be complex, but Butler has the conviction and charisma needed to carry it off.

Sadly, he’s hamstrung by the film’s structure and, ultimately, by its direction. The film shoots for epic from minute one, demanding our awe before it’s been earned and painting with strokes so broad that it’s hard to make out such niceties as character, motivation or period detail. Snyder came to the fore with 2004’s Dawn Of The Dead remake, after learning his trade in the world of commercials, and 300, at times, looks a little like a heavy metal video. At one point, when the Spartans trudge forward to engage their enemy, it sounds like one too, a raging torrent of testosterone that is as merciless in its stabbing delivery as the Spartans themselves. In truth, the music is more than a little overcooked throughout, especially in the Gladiator-lite scenes amid the waving barley. And Snyder loves that slo-mo button, ramping the speed of the action up and down during the fight scenes, the better to move smoothly from kill to kill — a technique which, used sparingly, works beautifully, but is indulged too much during the otherwise storming middle act.

That said, Snyder does bid to temper the testosterone levels by injecting a little oestrogen, courtesy of Queen Gorgo (Lena Headey). The Spartan queen is glimpsed in Miller’s work, but Snyder pushes her further to the fore. Her heartfelt speech to the Spartan assembly, while a little public school debating society, is at least couched in believable language, spilling from the tongue of a character who has some claim on our affection. Something which cannot be said of Leonidas and his Spartans.

Nothing is more epic than the tradition of the defiant David standing up to a mammoth and all-powerful Goliath — Homer knew it; Leonidas knew it; Frank Miller knew it; and after watching 300, you will know it too. But you’re unlikely to care, for such is the nature of myth and epic that characterisation and language exist only to serve the story. For all their bravery and bluster, Spartan deaths or injuries pluck no heartstrings — we neither know these men nor care about their fate. For all Butler’s verbal anguish and warrior dexterity, he and his 300 are cartoon characters, simple archetypes of ancient epic, spitting vitriol and wielding weapons but ill-equipped to connect to those watching them on screen. The result is that the conclusion of this, one of the greatest stories ever told, is sadly fumbled.

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Cast & crew
User reviews

Metacritic reviews

78 Austin Chronicle Marc Savlov Austin Chronicle Marc Savlov Not since Mario Bava's "Hercules in the Haunted World" has Greco-Roman movie-house mythmaking been so thoroughly well-conceived and executed.
75 ReelViews James Berardinelli ReelViews James Berardinelli 300 may not offer masterful storytelling in a conventional sense, but it's hard to beat as a spectacle and that makes it worthwhile viewing for all but the most squeamish of potential audience members.
75 Entertainment Weekly Lisa Schwarzbaum Entertainment Weekly Lisa Schwarzbaum Look, but don't be touched: There is much to see but little to remember in this telling of a battle we are meant never to forget.
75 Rolling Stone Peter Travers Rolling Stone Peter Travers 300 is a movie blood-drunk on its own artful excess. Guys of all ages and sexes won't be able to resist it.
75 Charlotte Observer Lawrence Toppman Charlotte Observer Lawrence Toppman 300 is a huge step forward in visually sophisticated storytelling.
70 The Hollywood Reporter Kirk Honeycutt The Hollywood Reporter Kirk Honeycutt In epic battle scenes where he combines breathtaking and fluid choreography, gorgeous 3-D drawings and hundreds of visual effects, director Zack Snyder puts onscreen the seemingly impossible heroism and gore of which Homer sang in "The Iliad."
63 Chicago Tribune Michael Phillips Chicago Tribune Michael Phillips This is a mixed blessing. For a story replete with open-air combat 300 is strangely claustrophobic. And for a film with lotsa flesh and even more blood, it's light on flesh-and-blood characters.
63 Miami Herald Rene Rodriguez Miami Herald Rene Rodriguez 300 is at its best when it settles for purely visceral thrills, such as Leonidas' battle against a hulking warrior twice the size of a normal man. The movie's broad strokes are all superlative: It's the details that keep 300 from being anything more than a striking curiosity.
60 Variety Todd McCarthy Variety Todd McCarthy A blustery, bombastic, visually arresting account of the Battle of Thermopylae as channeled through the rabid imagination of graphic novelist Frank Miller.
20 Village Voice Village Voice 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.
See all 42 reviews on Metacritic.com
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COMMENTS

300 - Rotten Tomatoes
In 480 B.C. a state of war exists between Persia, led by King Xerxes (Rodrigo Santoro), and Greece. At the Battle of Thermopylae, Leonidas (Gerard Butler), king of the Greek city state of Sparta ...
Spartan Special at CGI Friday's movie review (2006) - Roger Ebert
Action. 117 minutes ‧ R ‧ 2006. Roger Ebert. August 4, 2008. 4 min read. Vincent Regan, left,and Gerard Butler star in "300." I gave a four-star rating to " Sin City," the 2005 film based on a graphic novel by Frank Miller. Now, as I deserve, I get "300," based on another work by Miller. Of the earlier film, I wrote prophetically: "This isn ...
300 Reviews - Metacritic
Based on the graphic novel by Frank Miller, 300 is a retelling of the ancient Battle of Thermopylae in which King Leonidas (Gerard Butler) and 300 Spartans fought to the death against Xerxes and his massive Persian army. Facing insurmountable odds, their valor and sacrifice inspire all of Greece to unite against their Persian enemy, drawing a line in the sand for democracy. [Warner Bros.]
300 - Movie Reviews - Rotten Tomatoes
As the first blockbuster of the year, 300 sets the bar high enough, and is enjoyably silly. Full Review | Original Score: 7/10 | Jul 6, 2010. If 300 represents an evolution in 'virtual' cinema ...
300 (2006) - IMDb
300: Directed by Zack Snyder. With Gerard Butler, Lena Headey, Dominic West, David Wenham. In the ancient battle of Thermopylae, King Leonidas and 300 Spartans fight against Xerxes and his massive Persian army.
300 (2006) - 300 (2006) - User Reviews - IMDb
The 300 is an entertaining CGI and live action bloodbath with a lot of good messages which are, unfortunately couched in an endless stream of clichés. The script is, however, its weakest point, and is actually somewhat superfluous. What you will take away from this film is really up to you.
Review: The '300': Ah, the fine-looking fighters of freedom ...
The film "300" is about as violent as "Apocalypto" and twice as stupid. Adapted from a graphic novel by Frank Miller and Lynn Varley, it offers up a bombastic spectacle of honor and betrayal ...
300 critic reviews - Metacritic
300 is at its best when it settles for purely visceral thrills, such as Leonidas' battle against a hulking warrior twice the size of a normal man. The movie's broad strokes are all superlative: It's the details that keep 300 from being anything more than a striking curiosity. Read More. By Rene Rodriguez FULL REVIEW.
300 Review | Movie - Empire
22 Mar 2007. Running Time: NaN minutes. Certificate: TBC. Original Title: 300. The word ‘Spartan’ nestles in the English lexicon as a synonym for words like ‘austere’ and ‘disciplined ...
300 (2006) - Metacritic reviews - IMDb
300 is at its best when it settles for purely visceral thrills, such as Leonidas' battle against a hulking warrior twice the size of a normal man. The movie's broad strokes are all superlative: It's the details that keep 300 from being anything more than a striking curiosity. 60. Variety Todd McCarthy.