No warning, no escape.
Ancient Roman era disaster movie from director Paul W.S. Anderson (Resident Evil). A young slave (Game of Thrones' Kit Harrington) races to save the woman he loves as the dreaded, volcanic Mt Vesuvius threatens to erupt and destroy the city. Also stars Emily Browning, Kiefer Sutherland and Carrie-Anne Moss.... More
Milo (Harrington) was the sole survivor of the massacre of his family and tribe in Brittania by Corvus (Sutherland). Sold into slavery, the child grew to become a talented gladiator and was brought to fight in Pompeii, where he catches the eye of the ruler's daughter Cassia (Browning). As the warning signs of Mt Vesuvius' impending eruption go unheeded, Milo has his hands full just staying alive in the gladatorial arena as Corvus stacks the odds against him - but the catastrophic fireballs unleashed by the volcano soon imperil everyone in the city including Cassia, whom Milo sets out to save from this violent natural disaster.Hide
YOUR RATING & REVIEWWATCHLIST
BY Aaron Yap Flicks Writer
The jury’s still out as to whether Paul W.S. Anderson - the British hack responsible for all those never-ending Resident Evil movies - deserves the auteurist readings granted recently in some critical circles. But if there’s one thing Pompeii proves, it’s that if you ever needed to gather an assortment of non-blockbuster-marquee TV faces - Kiefer Sutherland (24), Kit Harrington (Game of Thrones), Adewale Akinnuoye-Agbaje (Lost), Jared Harris (Mad Men) - just so you can drizzle volcanic ash on them, then Anderson would be the right man for the job. A loftier director might have instilled a sense of purpose to the material, and probably inflate the running time to an excruciating two-hours-plus, but not Anderson, who plays this thing for what it really is: a totally cheesy hybrid of sword-and-sandal adventure and disaster hokum.... More
Though the film’s raison d'etre is historically sound (Mount Vesuvius did erupt and destroy Pompeii in 79 AD), everything else is fictional, pure potboiler pulp, economically mixing romance, politics and revenge into the pot. Between the blandly attractive leads delivering leaden dialogue, Sutherland’s entertainingly hammy performance, and the copious amounts of steel-abbed sword combat, there’s a lot of cheddar to work through here. The climax is, appropriately, a visually lush digital symphony of collapsing arenas, spewing fireballs and raining molten rock, but lest such catastrophe not be exciting enough, Anderson throws in a ridiculous last-minute chariot chase in the midst of it all, inching Pompeii from just being dumb to splendidly dumb.Hide