Percy Jackson: Sea of Monsters

The influence of a certain boy wizard looms large over the Percy Jackson & the Olympians series.  In Rick Riordan’s best-selling novels, teens struggle with their less-than-ordinary lot in life, are introduced to a world of magic and mystery, move to an abode dedicated to their special skills, and become immersed in quests of the utmost seriousness. In the inevitable film adaptations, their escalating exploits furnish episodic coming-of-age adventures, conveniently packaged for maximum mass consumption.

There’s a savvy point of difference in Riordan’s works, however, grounded as they are in Greek mythology. Swapping witches and wizards for gods and demigods, his stories boast the timelessness of their traditional inspiration, the weight of historical construction proving a wise substitute for typical fantasy. Not only does the material mine a rich source, but it makes tragic tales from centuries past palatable for younger audiences. Although derivation infuses the family-friendly modernisations, their folklore basis always retains interest.

After averting a deity disaster in 2010’s Percy Jackson & the Olympians: The Lightning Thief, the titular hero (Logan Lerman, A Place for Me) must again save the day – and once more, the threat comes from within. In Percy Jackson: Sea of Monsters, the half-human son of Poseidon is forced to embark upon another journey to stop a fellow god-spawn from overthrowing their progenitors, with his equally mystical pals – satyr Grover (Brandon T. Jackson, Big Mommas: Like Father, Like Son), Athena’s daughter Annabeth (Alexandra Daddario, Hall Pass), and his newfound cyclops brother Tyson (Douglas Smith, Antiviral) – aiding his endeavours.

Though narrative resemblance to similarly myth-influenced features Immortals and Wrath of the Titans can’t be shaken, director Thor Freudenthal (Diary of a Wimpy Kid) and screenwriter Marc Guggenheim (TV’s Arrow) have fun with the standard situation. Their addition to the fold is filled with ample youth-oriented end-of-the-world antics, including rampaging mechanical bulls, zombie boat crews and amusement park altercations; their handling of the expected, age-appropriate themes of finding identity and believing in yourself are overt, lack depth, and are explained in obvious, exposition-heavy dialogue, but remain well-meaning.

Among the young performers, some – lead Lerman and series newcomer Smith – fit the affable atmosphere; others – antagonists Levin Rambin (The Hunger Games) and Jake Abel (The Host) – are unable to avoid the one-dimensionality of their characters. Their older counterparts fare better, even as the high-profile names of the first film are replaced with more modest inclusions, with seasoned comic foil Stanley Tucci (Jack the Giant Slayer) and veteran wise watcher Anthony Stewart Head (of Buffy fame) a fine double act. That the feature’s best moment centres around Nathan Fillion’s (Firefly) may surprise, but his self-aware efforts insert energy into the otherwise average amusement. Such flashes of creativity might be few and far between in an offering predicated upon formula; however, even the slightest sparks of difference enliven the amiable effort.