The Stranger Things star ensures this new Netflix film is a gripping ride.
The “damsel in distress” is a universal fairy tale cliché. But what if the damsel decides she’s had enough of being scared, choosing to fight for her life instead? That’s the premise of this Netflix action movie starring Stranger Things’ Millie Bobby Brown, who also co-produces, with direction supplied by Juan Carlos Fresnadillo (28 Weeks Later).
Brown plays the sweet and kind Elodie, who thinks she’s moving to a rich and powerful kingdom to live happily ever after. In a union arranged by her father Lord Bayford (Ray Winstone) and stepmother Lady Bayford (Angela Bassett, underused), she will marry the handsome Prince Henry (Nick Robinson). In return, her own land, which is starving, will receive money and food. A great bargain, yes?
Well, no, because the prince’s mother is up to no good. Played by Robin Wright – the iciness she nurtured so well in House Of Cards is on full display – Queen Isabelle actually intends to sacrifice Elodie to a dragon who lives in a nearby mountain. Thanks to a centuries-old pact, this will appease its anger and keep the kingdom safe.
Thus, the unsuspecting Elodie, freshly wed and totally oblivious to her fate, is suddenly tossed into a chasm for the scaly beast. A cat-and-mouse hunt through an underground cave system begins, with a fiery death almost a certainty.
The script, penned by Wrath Of The Titans’ Dan Mazeau, doesn’t always hang together. Some moments are inspired: a flock of burning birds, for example, lit on fire by the dragon and sent fluttering towards Elodie as a portent of its arrival. Or a ceiling of icicles rapidly melting as the fiery monster approaches. The way the film’s colourful, fairy-tale opening act slowly descends into horror is compelling.
Yet there are missteps, too. Characters with cut-glass posh British accents say things such as, “I really love it, like, a lot!” Much of the film’s CGI resembles a videogame. The biggest issue, however, is that it’s never hard to figure out what’s going to happen next. The film seems to be aimed at younger audiences who might not be so familiar with its worn tropes, but at the same time, the violence and gore isn’t really for them. On the flip side, there’s not enough violence and gore to entice older audiences. Tonally, it’s as confused as Elodie’s fledgling marriage.
Thankfully, rescue is at hand from Brown, who is, as always, completely watchable. Having more than cemented her leading lady status in the Enola Holmes films, it’s refreshing to see her unleashing her inner Ellen Ripley to fight her own alien.
As she climbs, falls and crawls away from her tormentor, her guttural screams sell the pain of her injuries – and her fury – as well as any male action-hero from the ’80s. You know you’re in for a treat when her scowl finally appears: so perfectly forged on Stranger Things’ unlucky Eleven, it’s deployed to fine effect here. Dragons beware!
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Which brings us to the reptilian creature herself; yes, she’s female, which helps to offset some similarities to The Hobbit’s iconic Smaug. Voiced by Shohreh Aghdashloo, who famously possesses a deep, caramel timbre, the dragon stalks Elodie through her lair while breathing taunts and promises of death. It’s a fantastic pairing of voice and visuals – the dragon is beautifully designed – and adds a creepy, serial-killer vibe to proceedings.
Together, Brown and Aghdashloo’s performances elevate the film beyond its bare bones. You may see the finale flapping into view long before it happens, but these two determined ladies ensure you’ve had a gripping ride.