Toronto Argonauts fans watching this unintentionally hilarious remake of the 1981 adventure epic will be tempted to groan “Argh-oohs!” at regular intervals, as Argos fans are wont to do whenever their pigskin heroes disappoint them.

You don’t need any further enticement to moan or snicker than what’s already on offer from Clash of the Titans, directed by Louis Leterrier (The Incredible Hulk). It’s definitely in the so-bad-it’s-good category of blockbusters (hence my highly charitable “good” rating of).

Imagine the twee mysticism of The Lord of the Rings crossed with the sweaty male bonding of 300, blended with the contrarian posturings of Bewitched and you get the idea.

On that last comparison, Avatar’s Sam Worthington plays a half-man, half-god hero named Perseus, who is leading a human grudge match against the gods of Mount Olympus: disco-dressed Zeus (Liam Neeson) and his bilious brother Hades (Ralph Fiennes).

Perseus could just summon up the godly side of his nature and take on the giant scorpions and other CGI creations hurled at him by Zeus, Hades and Hollywood. But just like reluctant witch Samantha in Bewitched, he obstinately refuses to act like a god other than as a last resort.

Perseus is steamed because his dad Zeus conceived him by doing the Rosemary’s Baby thing, raping and impregnating his mortal mom Danae, who is played by Danish supermodel Tine Stapelfeldt (whom I would call a goddess, but never mind).

Dastardly divine acts like these have the humans so miffed at their immortal masters, they topple their giant statue of Zeus into the ocean, leaving only one colossal foot, later to appear in innumerable Monty Python sketches.

The clueless Zeus is stunned that the humans would be so naughty: “I created them, and they reward my love with defiance?” he thunders. Earth to Zeus: Ask any parent of a teenager. Deal with it, dude.

This reborn Clash does offer the sexiest Medusa ever seen — or rather not seen, unless you want to turn to stone. She’s a hottie even with that snake hairdo.

It’s one supremely silly movie, but it’s also a Razzies-ready hoot, especially when the gods get really mad at the rebellious humans and Zeus yells, “Release the Kraken!” — a reference to the giant sea monster this movie thriftily shares with Pirates of the Caribbean.

Extras include deleted scenes, alternate ending, production info and “Maximum Movie Mode” with Neeson, Fiennes, Worthington and Leterrier.

Repo Men

(Universal)

Repo Men is set in the near future, where a terrible thing has happened. There’s been some kind of apocalypse, stripping Hollywood of new ideas.

Take chunks of Blade Runner, Logan’s Run and District 9, add a dollop of Total Recall and fry it up in the lard of Repo! The Genetic Opera. Season and serve.

Rookie helmer Miguel Sapochnik and screenwriters Eric Garcia and Garret Lerner make do with refried plot devices about heartless capitalism and mechanized humanity.

In this cowardly near-future world, science has created mechanical replacements for every human function, but these spare parts are sold at sky-high prices. A heart costs the price of a house, and it comes with an even steeper mortgage: failure to pay results in very messy repossession procedures.

This brutal recall is the job of guys like Remy (Jude Law) and Jake (Forest Whitaker), ace repo men for organ replacement firm The Union — so named for the sole purpose of allowing the blue-collar body snatchers to say with straight faces, “We’re with The Union.”

The result, oddly enough, isn’t half bad. What Sapochnik and his scripters lack in narrative freshness, they make up for in their flair for visceral visuals and propulsive violence.

If you’re squeamish about scalpels, gaping wounds and spurting arteries, you may wish to give this miss.

Extras include deleted scenes, production info, commercials for The Union and commentary by Sapochnik and his writers.