It’s gotten to the point where studio period and fantasy epics are as ubiquitous as sequels, remakes, and superheroes. This of course creates a paradox in that the entire reason for the existence of these films is their flash and spectacle. If Wrath of the Titans, a sequel to a remake focusing on a mythological superhero, has taught me anything, it’s that it might be time for these movies to vanish to the ethereal plains…at least for a little while. The latest in a string of underwhelming, despite themselves, period epics, Wrath is a tedious chore as messy in its visuals as it is frustratingly poor in its construction. The story here is that Perseus (Sam Worthington), having saved the world from both Medusa and the Kraken, is called into hero service again when his father Zeus (Liam Neeson) is taken prisoner by Hades (Ralph Fiennes) and Ares (Edgar Ramirez). The two conspirators plan to use Zeus’ power to release the sinister father of gods: Kronos. I use the word “story” loosely because whatever moments in the film aren’t the chapter distinctions in “How Not to Write to Write a Screenplay” are simply cribbed from Edith Hamilton’s “Mythology”; more accurately from someone reading “Baby’s First Edith Hamilton” picture book. The screenwriters flipped through it, carelessly flopping their fingers on the most eye-catching beasts, exclaiming, “this one, and this one, and this one…put them all in there.” At this point, one intelligent assistant offered, “guys, those aren’t even Perseus stories.” That

We take a break from movies to provide this handy fake history lesson. The lesson isn’t fake. It’s the history that’s questionable.

In this exclusive interview, Cole takes Phil Hay and Matt Manfredi back to their middle school required reading list and gets the skinny on Clash.