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Troy

Troy

War · Action · History · 2004

In year 1250 B.C. during the late Bronze age, two emerging nations begin to clash. Paris, the Trojan prince, convinces Helen, Queen of Sparta, to leave her husband Menelaus, and sail with him back to Troy. After Menelaus finds out that his wife was taken by the Trojans, he asks his brother Agamemnon to help him get her back. Agamemnon sees this as an opportunity for power. They set off with 1,000 ships holding 50,000 Greeks to Troy.

Movie details

Troy

“For passion. For honor. For destiny. For victory. For love.”

2004 War · Action · History 2h 43m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

In year 1250 B.C. during the late Bronze age, two emerging nations begin to clash. Paris, the Trojan prince, convinces Helen, Queen of Sparta, to leave her husband Menelaus, and sail with him back to Troy. After Menelaus finds out that his wife was taken by the Trojans, he asks his brother Agamemnon to help him get her back. Agamemnon sees this as an opportunity for power. They set off with 1,000 ships holding 50,000 Greeks to Troy.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Troy?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Wolfgang Petersen

Written by

David Benioff

Brad Pitt

Brad Pitt

Achilles

Orlando Bloom

Orlando Bloom

Paris

Eric Bana

Eric Bana

Hector

Brian Cox

Brian Cox

Agamemnon

Sean Bean

Sean Bean

Odysseus

Brendan Gleeson

Brendan Gleeson

Menelaus

Diane Kruger

Diane Kruger

Helen

Court is in session

Put Troy on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.