Ask any 20-something who absorbed the rings, spells and talking lions that dominated fantasy cinema – and, in some of those years, outright cinema – in the aughts, and they’ll tell you their cultural upbringing involved stories of companionship, fortitude and self-discovery pervading some of the medium’s most imaginative worlds.
I would know; I’m one of them. The adaptions of Tolkien, Rowling and Lewis achieved new standards for the fantasy genre, particularly in the case of Peter Jackson’s “Lord of the Rings” trilogy, an enticing gateway drug that demolished what we previously thought of as large-scale action in film, even as we were maybe a few years away from discovering film film.
Joe Cornish, the writer-director of “The Kid Who Would Be King,” realizes that too. In his modern retelling of the age-old tales of King Arthur, Merlin and the Knights of the Round Table, he uses the archetypes and fantastical flourishes found in “Lord of the Rings,” “Harry Potter” and “The Chronicles of Narnia” not just as influence, but as the recipient of a love letter to those films that made statements with critics, at box offices and in the larger history of cinema. Continue reading →
They linger, skitter and roar; excite and intimidate. Their presence can be curious, and at times the absences of others are a relief. They have their own hierarchies, although at times clashes can break out for the worst.
When a film’s moniker bears the words “fantastic beasts,” it’s not an advantage when those above words describe its multitudes of plot threads as accurately as the extraordinary creatures conjured up for J.K. Rowling’s wizarding world.
Much like this universe’s beloved nifflers, powerful dragons or sassy bowtruckles, the various tidbits of story and exposition in the second installment of this “Harry Potter” prologue series are disparate, with their own ambitions and unpredictable tendencies rooted in a hunger for attention. Ultimately, it’s to the film’s detriment, though fans of the series would be hard-pressed to leave the theater not feeling a little enchanted simply on the merits of returning home to this universe. Increasingly, it feels like reuniting with an old, robed friend. Continue reading →
For 20 years, Guillermo Del Toro has found success in the bizarre and carved himself a niche in the eclectic. He’s done more than anyone (not named Peter Jackson) to create a spot for fantasy in contemporary cinema, with 2006’s piercingly original “Pan’s Labyrinth” serving as the crown jewel of his catalog.
The imaginative Mexican director’s latest effort, though, makes a strong claim for the crown. A more character-driven story than anything he’s undertaken before, “The Shape of Water” is simultaneously a departure from Del Toro’s unfettered imagination and a showcase of the filmmaker at the height of his technical powers.
The fantastical has always been Del Toro’s forte, but “Shape of Water” operates as proof that he can tell a spellbinding story while leaving nightmarish creatures on the bench, while also trading mysticism for a previously untapped amount of realism. Continue reading →