There is a bunch of films that specialise in taking Greek myths or elements from them and recasting them in present-day surroundings. See the likes of Orphee (1950), Black Orpheus (1959) and O Brother, Where Art Thou? (2000), which offer updatings of classic stories, or isolated appearances of various figures from the myths in Hammers The Gorgon (1964) and various Ray Harryhausen films or comedy treatments like Hercules in New York (1970) and The Muse (1999). There was also an entire Young Adult series with the Percy Jackson books, filmed as Percy Jackson & The Olympians: The Lightning Thief (2010) and sequel, about the children of Greek gods operating in the present day. One of the finest of these was the Belgian Malpertuis (1972) concerning a strange house where the Greek gods have been imprisoned. It is this that would seem to have an influence over Siren Song, which posits the idea of the Greek sirens running a remote hotel in the present-day where they lure (principally) men to their doom.
Siren Song is an oddity. All the actual component of Greek myth takes place solely in the animated/narrated opening that tells the story of the sirens. Strangely, this is the only mention of the sirens we get throughout. The rest of the film could take place as a mundane work about a trio of strange sisters who lure men to their inn on a remote island and kill them. There is never any explanation why they do this, although we do have one scene where Helen Blue is carving their bodies up and the suggestion is left that they are eating them (although some clue might be found in the name of the production company Cannibal Island). Without the opening credits, it would certainly be an odd film.
Siren Song is a film that is unconvincing on almost all levels. Benedict Marts direction is aimless and amateurish. The camera often seems to be placed around waiting for something to happen and there is no sense that Mart has any idea of how to arrange the action dramatically for a shot. None of the actors do anything to hold your attention. Matt Silver failed to create any empathy as a hero. Of the three sisters, it is only Eloise Oliver who seems to have any idea of projecting sultry and seductive, which would be the adjectives you most associate with sirens. The other two sisters seem amateurs that have been persuaded to come and play parts without many clues about how to act. The only person present who puts the show on a professional footing is C. Thomas Howell who had a minor career as a teen star in the 1980s and has since been appearing in a whole heap of B movies, including even becoming a director for The Asylum, who has a few scenes here as Matt Silvers best friend.