\”It's yours, take it. Trojan prince Paris is not only having an affair with Spartan Menelaus' woman, Helen. He also lures her away to live with him in Troy. Thus giving the global domination obsessed King Agamenon the launch pad to war with Troy. Which in turn brings into conflict Spartan hero Achilles and Hector of Troy, two of the greatest warriors that ever lived. Troy, budgeted at $175 million, and given to director Wolfgang Petersen with orders to craft a swordplay epic based on Homer's Illiad, is not the truly great picture it really should have been. It is, however, a spectacle of sorts, that by way of the extended directors cut, becomes a fine enough addition to the genre it so clearly wanted to crown. The problems are evident from the off. The casting of Brad Pitt as Achilles always looked to have been based purely on looks. Nicely toned body and brooding close ups do not a warrior make, and thus, as good an actor as Pitt definitely is, this is a role (and genre) too far. Diane Kruger as Helen is under written, which since at the time was a poor actress yet to bloom turns out to be a bonus here, and Orlando Bloom playing the wimp like Lothario Paris the way he should do - still gets out acted and swamped by all around him. The other main problem is how uneven the story telling is. Petersen looks confused as how to condense the Trojan war in the running time, whilst also juggling the emphasis of the two great warriors at its core. That Eric Bana's excellent portrayal of Hector comes through the jumble is a testament to Bana's ability and nothing else. The good is, well, rather good though. Agamemnon, courtesy of a nasty turn from Brian Cox, is well formed. It gives the picture a reason for being outside of it being a war about some bloke stealing a woman from another bloke. Imperial cravings and a genuine thirst for blood helps lift Troy out of the rocky waters it had found itself in. Peter O'Toole, Brendan Gleeson and Sean Bean do fine work with what little they have got, and the production values on offer are hugely impressive. The fight sequences impact and are full of gusto. The fight off between Hector and Achilles is superbly choreographed (fought out to a score that James Horner has lifted from the one Danny Elfman used for Planet Of The Apes three years earlier) and the battle between the armies outside the walls of troy sits with the best in the genre. CGI is often called the bane of cinema, but when used so well as it is here (see the ships approaching Troy for instance) it proves to be an effective and entertaining tool. Troy has problems, of that there is no doubt. But come the end one knows that it has been entertained, one knows that this was a time of heroes. So with that, and the knowledge that the film made a profit of just over £320 million worldwide, Petersen can smugly sit in his chair musing it was job done. 7/10”

John Chard

\”A long watch, but just about a worthwhile one. I enjoyed 'Troy', in short. A film, interestingly given his recent exploits, written by a certain David Benioff. It definitely has more than a few pacing issues, but they only affect the enjoyment factor minorly - at least to me. The score is a little lacklustre, mind. The casting is outstanding, even if I don't think all the performances are anything to truly shout about. I found Brad Pitt and Eric Bana, although entertaining, a bit wooden in parts. Elsewhere, Orlando Bloom and Sean Bean are arguably underused from an acting viewpoint - though their characters play huge parts, of course. You also have a load of other familiar faces, from Peter O'Toole to Brendan Gleeson to Rose Byrne to Diane Kruger. The definition of an ensemble. The action helps keep things moving, the battle sequences are very nicely done. The film takes an age to reach the event that everyone knows about, but when it finally does it's excellent. The cast and the action are my big takeaways from this. I couldn't comment on its accuracy on the original work. As a film, for me, it's very good.”

r96sk

\”It took a while, but Brad Pitt finally did some great films. This and Fury stick out on Pitt's resume as his masterpieces thus far. Here, we have the most "credible" and "least Hollywood" look at the Iliad and the Trojan War. The characters are very likely as they were, if they really existed, with motivations explained quite well, save for one motivation. It is hard to see Achilles as someone who tells a kid that living dangerously will make you famous a thousand years into the future. Even if Achilles is that introspective, it's hard to see that point of view being something someone would believe in, especially in an ancient world where few names are remembered after death, and certainly not for thousands of years. Aside from that, we get very credible explanations for all the recorded events, without the brown nosing of Homer, although the brown nosing of Odysseus still exists even in this story. This is quite easily, and I say undeniably, the most exciting, the most credible, and the best depiction of the Trojan War and the Iliad ever out of a major studio.”

drystyx

\”Now then, where do we start? On the plus side, this is one of the more intelligent applications of CGI in an historical drama setting. The film delivers lots of epic grandeur; the at sea-scenes/battles are classily produced and the attention to detail across the costume and prop departments is outstanding. Sadly, though, the acting isn't at all joined up. At bit like the Dutch football team of the 1980s, we have lots of individual stars but relatively little cohesion between them. Peter O'Toole brings some gravitas as Priam, bit otherwise it's a loose collection of A-lister performances that try their best with a staccato script and some fairly clunky direction. As an end-to-end adventure film, it isn't as bad as it has been accused of being, but it definitely could have done with a deal more emphasis on the characterisation - Brian Cox is dreadful as Agamemnon; Brad Pitt (Achilles), and particularly Eric Bana (Hector) are shockingly wooden; Orlando Bloom (Paris) & Garrett Hedlund (Patroclus) appear there merely as eye-candy and Diane Kruger as the one who launched the thousand ships sounded more like Celine Dion every time she spoke. This is undoubtedly a story that could have made Cecil B De Mille proud, instead I suspect he's have nodded off...”

CinemaSerf