Beowulf is something of a mixed bag, not helped by the now-dated graphics and the somewhat questionable decision to deconstruct a story that most of the target audience probably aren't actually familiar with. It may have been a bit less enraging to the purists and scholars if the same deconstructive elements were applied to an original work, but that's one element of what might have been that I can honestly live with.
On the face of it, the film is a bog-standard action movie Thud and Blunder epic, and the eponymous hero's antics and braggadocio would seem to confirm it. Consequently, if you were wondering what made this film stand out from all the other action films and even other sword and sandals tales (apart from the slightly creepy animation and Alan Silvestri’s impressive soundtrack), you may find yourself at something of a loss.
I didn't find this first half boring per se, just a bit unremarkable apart from Starter Villain Grendel.
It's not until the second half of the film begins that we finally discover where all those truly unique selling points were hiding: not only is it essentially the Wham Episode of the film, but it subverts the thud and blunder tropes by having Beowulf not merely fail, but knowingly perpetuate evil.
By itself, this section is pretty damn good thanks to all the twists and revelations, especially with Grendel's mother now taking centre stage as the villain: Angelina Jolie manages the incredibly difficult task of being both alluring, creepy, magical, and downright terrifying, sometimes all at once.
But then the narrative continues: Beowulf has to live with the consequences of his victory, finding himself in an even sorrier state than King Hrogthar was in the beginning of the film, to the point that he can't even find a glorious death on the battlefield because he's forbidden from fighting and his few opponents are too frightened to attack. It's here that Ray Winstone really has something to work with other than the usual action movie boasts, and he makes it work, blending pathos with a ghost of his old self when he finally has to face the end result of his own corruption and – hopefully – break the cycle.
All in all, there’s actually a pretty good film in the second half, buried under the merely average film that was the first half. It’s just a pity that the story had to hide its light under the proverbial bushel and drag its heels just to get to the really interesting material.
WesternAnimation Redeemed by the second half
Beowulf is something of a mixed bag, not helped by the now-dated graphics and the somewhat questionable decision to deconstruct a story that most of the target audience probably aren't actually familiar with. It may have been a bit less enraging to the purists and scholars if the same deconstructive elements were applied to an original work, but that's one element of what might have been that I can honestly live with.
On the face of it, the film is a bog-standard action movie Thud and Blunder epic, and the eponymous hero's antics and braggadocio would seem to confirm it. Consequently, if you were wondering what made this film stand out from all the other action films and even other sword and sandals tales (apart from the slightly creepy animation and Alan Silvestri’s impressive soundtrack), you may find yourself at something of a loss.
I didn't find this first half boring per se, just a bit unremarkable apart from Starter Villain Grendel.
It's not until the second half of the film begins that we finally discover where all those truly unique selling points were hiding: not only is it essentially the Wham Episode of the film, but it subverts the thud and blunder tropes by having Beowulf not merely fail, but knowingly perpetuate evil.
By itself, this section is pretty damn good thanks to all the twists and revelations, especially with Grendel's mother now taking centre stage as the villain: Angelina Jolie manages the incredibly difficult task of being both alluring, creepy, magical, and downright terrifying, sometimes all at once.
But then the narrative continues: Beowulf has to live with the consequences of his victory, finding himself in an even sorrier state than King Hrogthar was in the beginning of the film, to the point that he can't even find a glorious death on the battlefield because he's forbidden from fighting and his few opponents are too frightened to attack. It's here that Ray Winstone really has something to work with other than the usual action movie boasts, and he makes it work, blending pathos with a ghost of his old self when he finally has to face the end result of his own corruption and – hopefully – break the cycle.
All in all, there’s actually a pretty good film in the second half, buried under the merely average film that was the first half. It’s just a pity that the story had to hide its light under the proverbial bushel and drag its heels just to get to the really interesting material.