VORSICHT SPOILER - AICN schreibt: [..] If you feel like taking a trip through all the various reviews of 300 that have shown up so far, you’re going to notice something. It’s sort of hilarious that Snyder hid an image of Rorschach in that extended trailer of 300, because I think what he’s made with this film is a political rorschach test. People are going to project a lot of their own personal politics onto this one, and you’ll hear people explain how it means this or it means that, and you’ll read both outrage and smug satisfaction. I don’t think Snyder made a political film, though. I think Frank Miller is an undeniably political writer, but I don’t think that had much to do with Snyder’s decision to make the film. I think what really attracted him to the material is exactly what attracts me to this film: the image. This is a celebration of film as a visual art form, first and foremost, and Snyder has made something stunningly beautiful, a poem of war, a movie drunk on the potential of cinema to bring to life the impossible. Working with Kurt Johnstad and Michael Gordon as co-screenwriters, Snyder’s crafted a largely-faithful adaptation of the text of Miller’s work. There are a few invented scenes, mostly concerned with Queen Gorgo (Lena Heady), left behind when King Leonidas takes his faithful band of 300 Spartans to face impossible odds in an effort to turn back the vast Persian army, poised to destroy their city. I don’t mind the new material (mainly because I really like Dominic West and think he should work more), but I don’t think it really improves the film either. No matter, though. In the end, the reason to see this film is because of the way Snyder handles the battle sequences, and this is where he proves himself as a major talent. I’m a picky bitch when it comes to action scenes on film. Geography and clarity are the two things that are most important to me in an action sequence, and Snyder’s got a great feel for both. In a film where many of the major characters look alike while in battle, it would be easy for this to become confusing, jumbled, frantic instead of kinetic. But Snyder’s got a steady hand and a great eye, and he transforms Miller’s static images into something fluid and beautiful. I’m amazed at how violent the film is. Normally, films where characters use swords end up pissing me off because Hollywood always seems determined to shy away from actually showing anybody use those swords. Not Snyder. He paints the screen red, and he’s not afraid to send limbs and heads and other body parts flying. Each of the major set pieces work for me, and I found myself laughing and applauding some of the most outrageous moments. Snyder makes you feel the action. This isn’t just a bunch of pretty pictures flashing by. It’s an immersive experience, especially if you see it in IMAX. [..]
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